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THE  LIBRARY 

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OF  CALIFORNIA 

LOS  ANGELES 


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« 


BOCCACCIO  AND  HIS 
IMITATORS 


FLORENCE  NIGHTINGALE  JONES 


BOCCACCIO 
AND    HIS    IMITATORS 

IN  GERMAN,  ENGLISH,  FRENCH, 

SPANISH,  AND  ITALIAN 

LITERATURE 

''THE    DECAMERON'' 


FLORENCE  NIGHTINGALE  JONES 

Instructor  in  Romance  Languages 
University  of  Illinois 


CHICAGO 

THE  UNIVERSITY  OF  CHICAGO  PRESS 

1910 


Copyright  1910  By 
The  University  of  Chicago 

Published  January  19 10 


Composed  and  Printed  By 

The  University  of  Chicago  Press 

Chicago,  Illinois,  U.  S.  A. 


J  73  J- 


PREFACE 

The  following  list  of  the  imitations  of  the  tales  found  in  the  Decameron 
is  designed  to  give  to  the  student  of  comparative  literature  some  idea  of 
the  extent  to  which  the  novels  of  Boccaccio  were  used  by  later  writers  as 
material  to  be  worked  over  into  poems,  dramas,  and  operas.  These  imita- 
tions are  arranged  chronologically  and  are  grouped  by  countries,  '^ermany 
is  placed  first  as  leading  all  the  other  countries  of  Europe  in  its  adapta- 
tions of  Boccaccio's  stories.  England  comes  next,  and  then  the  three 
Latin  countries.  •  In  this  list  are  included  all  the  prose  or  poetical  narratives 
or  dramas  which  are  commonly  called  imitations  of  Boccaccio.  No 
attempt  is  made  to  discuss  the  sources  of  these  stories,  nor  to  settle  disputed 
questions,  such  as  whether  an  author  imitated  Boccaccio  himself  or  some 
imitator  of  Boccaccio.  It  is  enough  that  the  plot  in  all  its  main  features 
agrees  with  the  Decameron  story  which  was  directly  or  indirectly  its  source. 

Several  attempts  of  this  kind  have  been  made  before:  Du  ^leril,  in 
his  Histoire  de  la  Poesie  Scandinave  (1839),  has  a  chapter  entitled  "Des 
Sources  du  Decameron  et  de  ses  imitations."  Dunlop,  in  his  History  of 
Prose  Fiction  (1851),  brings  together  a  number  of  imitations;  Zambrini's 
Bibliografia  Boccaccesca  (1875)  is,  as  its  subtitle  indicates,  a  list  of  the 
"Edizioni  delle  opere  di  Giovanni  Boccacci  latine,  volgari,  tradotte  ct 
trasformate."  Several  studies  upon  separate  stories  of  the  Decameron 
have  been  published,  such  ^^  that  of  Anschiitz,  Novelle  vom  Falken  und 
ihre  Verbreitung  in  der  Literj!  ir,  and  that  of  Schofield  on  the  Seventh  Novel 
of  the  Seventh  Day.  Koeppel  has  studied  the  influence  of  the  Italian 
novel  on  the  English  literature  of  the  sixteenth  century  and  Bourland  the 
history  of  the  Decameron  in  Spain.  Valuable  as  these  contributions  have 
been  for  the  fuller  understanding  of  the  extent  of  Boccaccio's  influence 
upon  European  literature,  it  is  hoped  that  the  results  arrived  at  by  those  who 
have  thus  studied  the  subject  in  certain  aspects,  may  be  of  increased  value, 
by  being  brought  into  comparis(jn  with  those  reached  I)y  otiuT  students 
in  the  same  field. 

If  the  list  of  Boccaccio  imitations  wlii(  h  is  litre  presented  is  a  longer 
list  than  that  given  by  Dunloj),  Du  Mrril.  and  Zanihriiii,  it  is  I)ecause 
within  the  last  twenty-five  or  thirty  years  a  numljer  of  studies  on  Boccaccio 
have  api)eared  similar  to  those  mentioned  above,  the  results  of  which  have 
been  utilized  in  the  following  tables.  Neither  Dunlop  nor  Zainbrini  have 
given  a  chronologically  arranged  list  sufllciently  compli-te  to  furnish  the 
student  of  comjiarative  literature  with  the  data  which  are  necessary  in 


1024209 


iv  BOCCACCIO  AND  HIS  IMITATORS 

order  to  arrive  at  an  adequate  idea  of  the  extent  to  which  Boccaccio  was 
imitated  in  a  certain  century,  in  a  certain  country,  or  by  a  certain  author. 
A  general  view  of  the  subject  is  often  necessary  to  decide  whether  an 
author  drew  his  inspiration  from  Boccaccio  or  from  some  other  source. 
The  fact  that  six  stories  in  the  Canterbury  Tales  resemble  those  of  the 
Decameron  would  certainly  indicate  that  Chaucer  had  some  acquaintance 
with  the  book. 

Over  eight  hundred  imitations  are  here  brought  together,  but  the  list 
does  not  include  those  found  in  Scandinavian  literature,  which  would  bring 
the  number  up  to  at  least  a  thousand.  It  is  hoped  that  the  list  will  be 
found  reasonably  accurate,  but  in  all  probability  errors  will  be  found,  since 
many  of  the  works  referred  to  could  not  be  consulted  and  the  so-called 
imitations  had  to  be  accepted  upon  the  authority  of  those  who  have  con- 
sulted them.  A  star  placed  before  the  date  indicates  that  the  imitation 
has  been  verified  by  reading  of  the  author's  work.  In  one  case  only  does 
the  star  indicate  second-hand  knowledge  of  the  story  and  that  is  in  the 
case  of  several  Spanish  authors  where  the  outline  of  the  story  is  given  so 
fully  by  Miss  Bourland  as  to  leave  no  doubt  as  to  its  similarity  with  the 
Decameron  story.  As  to  the  dates,  it  is  hoped  that  they  are  correct.  In 
general,  the  date  given  is  the  one  which  is  believed  to  be  that  of  the  first 
public  appearance  of  the  work  in  manuscript  or  in  print.  In  the  case  of 
some  collections  like  Von  der  Hagen's  Gesammtabenteuer  or  Lami's  Novelle 
letterarie,  this  rule  has  not  been  followed.  Whether  the  stories  in  these 
collections  antedated  Boccaccio  or  not,  their  PHblication  in  the  nineteenth 
century  may  fairly  entitle  them  to  be  imitatik''"^s  of  Boccaccio  in  the  sense 
that  they  are  thus  brought  before  the  moder^  reading  public  for  a  second 
time. 

It  has  seemed  best  not  to  incumber  the  following  list  with  detailed 
references  to  the  work  in  which  the  imitation  occurs.  The  title,  so  far  as 
it  indicates  the  character  of  the  story,  has  been  given  whenever  possible, 
but  references  to  editions,  volumes,  pages,  would  defeat  the  object  aimed  at, 
which  is  to  bring  together,  in  the  smallest  compass  possible,  the  imitations 
of  the  Decameron  in  European  literature.  As  for  acknowledgment  of  indebt- 
edness to  others,  the  Bibliography  gives  the  principal  sources  from  which  this 
list  has  been  made  up.  Again  the  hope  is  expressed  that  the  list  is  reason- 
ably accurate,  i.  e.,  accurate  enough  for  the  purpose  for  which  it  was 
intended,  to  bring  together  in  a  sort  of  bird's-eye-view  all  of  the  reworkings 
of  the  stories  of  the  Decameron,  in  prose  or  verse,  which  number  nearly 
a  thousand  and  which  form  no  inconsiderable  part  of  the  literature  of  the 
six  centuries  which  will  soon  have  elapsed  since  the  birth  of  Boccaccio. 


BOCCACCIO  AND  HIS  IMITATORS.     "THE  DECAMERON" 

If  a  twentieth-century  playwright  were  to  sit  down  with  the  Bible  and 
the  Decameron  before  him  from  which  to  select  plots  to  work  over  for  the 
entertainment  of  the  public,  the  very  proximity  of  the  two  books  would  be 
considered  sacrilegious.  In  the  sixteenth  century,  however,  no  less  pious 
a  person  than  Hans  Sachs  drew  almost  equally  from  these  two  world-famed 
story-books  for  subjects  for  his  poems  and  plays  without  shocking  the  good 
citizens  of  Nuremberg  in  the  least.  In  England,  there  was  the  same  feeling 
in  regard  to  Boccaccio;  Roger  Ascham  complains  bitterly  of  the  "Italian- 
ated  Englishmen"  of  his  time,  "who  make  more  account  of  a  tale  in  Bocace 
than  a  story  in  the  Bible."  No  jest-book  of  this  period  was  complete 
without  some  stories  from  the.  Decameron,  and  Shakspere,  Greene,  and  Ben 
Jonson  all  drew  upon  the  Italian  story-tellers  for  plots.  Spanish  writers, 
too,  used  the  Decameron  freely.  Lope  de  Vega  was  too  prolific  a  writer 
not  to  seize  upon  all  the  available  material  of  his  time  for  plots,  but  the 
fact  that  he  took  eight  of  them  from  Boccaccio  must  not  be  attributed  so 
much  to  lack  of  other  material  as  to  the  great  popularity  which  Boccaccio 
enjoyed  in  Spain. 

In  Italy,  Ser  Giovanni,  Sercambi,  and  Sacchetti,  whose  collections  of 
narratives  all  appeared  before  the  close  of  the  fourteenth  century,  retold 
many  of  the  Decameron  stories  and  from  them  the  fashion  spread  to  Eng- 
land where  Chaucer  was  inspired  to  write  his  Canterbury  Tales  in  imitation 
of  the  Italian  novelists. 

During  the  fifteenth  century  Boccaccio  had  few  imitators.  Antoine 
de  la  Sale,  in  his  Cent  Nouvelles  Nouvelles  (1456),  imitated  the  framework 
and  a  few  of  the  incidents  of  the  Decameron,  while  a  few  stories  like  those 
of  Griselda  and  Ghismonda  were  retold  in  every  country  of  Europe.  The 
beginning  of  the  sixteenth  century,  however,  saw  a  Boccaccio  renaissance 
which  appears  to  have  been  most  flourishing  in  Germany  under  the  leader- 
ship of  Hans  Sachs,  who  found  in  the  Decameron  material  for  more  than 
sixty  Schwdnke,  Fastnachtspiele,  and  Meistergesdnge.  In  the  latter  part 
of  the  century  Ayrer  also  dramatized  half  a  dozen  or  more  of  the  stories. 
Numberless  jest-books  were  compiled  in  imitation  of  the  Decameron  and 
contained  many  of  its  narratives,  such  as  Pauli's  Schimpf  iind  Ernst  (1522) 
early  in  the  century  and  the  five  collections  which  appeared  from  about 
1556  to  1566 — Kirchof's  Wendunmuth,  Lindencr's  Raslhiir/ilein,  Wickram's 
RoUwagen,  Schuman's   N achtbilchlcin ,  and    Martin    Montanus's  Garten- 


2  BOCCACCIO  AND  HIS  IMITATORS 

gesellschaft.  Even  Luther  made  use  of  some  of  these  stories  in  his 
Tischrcdcn.  In  England,  Painter's  Palace  of  Pleasure  initiated  a  series  of 
imitations  of  Boccaccio.  This  book,  which  among  many  other  tales  from 
the  Italian  novelists  contains  sixteen  from  the  Decameron,  ranks  as  more 
than  a  mere  translation  and  greatly  influenced  the  Elizabethan  dramatists. 
It  was  followed  in  1576  by  Turberville's  Tragical  Tales,  containing  a  num- 
ber of  poetical  translations,  and  by  that  curious  imitation  of  Boccaccio  and 
Dante,  Tarleton^s  Newes  out  of  Purgatorie.  In  France,  Nicolas  de  Troyes, 
whose  Grand  Parangon  de  Nouvelles  was  published  in  1536,  retold  almost 
as  many  stories  as  Hans  Sachs,  but  in  prose  form.  Henri  Estienne,  in  his 
Apologie  pour  Herodote  some  years  later,  retells  Boccaccio's  tales  in  prose. 
The  turn  of  France  was  to  come  in  the  following  century  when  La  Fontaine 
retold  in  poetical  form  twenty  or  more  stories  with  such  art  that  it  is  hard 
to  tell  which  is  the  master  and  which  is  the  pupil. 

The  Italian  novelists  of  the  sixteenth  century  are  too  numerous  and 
too  well  known  to  need  more  than  a  passing  mention.  Parabosco,  Cinthio, 
Grazzini,  Bandello,  Straparola,  and  Malespini — all  of  them  included  a 
few  of  Boccaccio's  stories  in  their  own  collections.  The  most  bold-faced 
borrowing,  however,  was  practiced  by  Sansovino,  who  included  a  large 
number  of  Boccaccio's  stories  in  his  Cento  Novelle  Scelte  and  then  refused 
to  acknowledge  the  debt.  The  importance  of  this  collection,  however,  lies 
in  the  date  when  it  was  published  (1566) — the  same  year  in  which  Painter's 
Palace  of  Pleasure  appeared  in  England,  Timoneda's  Patranuelo  and  Alivio 
de  Caminantes  in  Spain,  Estienne's  Apologie  pour  Herodote  in  France, 
and,  a  few  years  before,  of  numerous  jest-books  in  Germany.  This  year, 
then,  may  be  said  to  mark  the  culmination  of  the  revival  of  interest  in 
Boccaccio  in  the  sixteenth  centur}^  In  the  early  part  of  the  seventeenth 
century  Lope  de  Vega  wrote  eight  dramas  based  upon  the  Decameron  and 
a  few  of  the  English  dramatists  of  that  time  borrowed  some  of  the  incidents 
to  furnish  a  scene  or  an  act  of  a  play,  but  the  only  imitator  of  Boccaccio  in 
that  century  worthy  of  mention  is  La  Fontaine,  who  himself  became  a 
second  Boccaccio,  so  far  as  imitators  are  concerned.  For  a  hundred  years 
afterward  the  French  stage  echoed  and  re-echoed  these  twice-told  tales  in 
comedies  and  comic  operas,  all  deriving  their  inspiration  from  La  Fontaine, 
as  is  plainly  indicated  by  the  title  of  a  work  published  by  De  Theis  in  1773 — 
Le  Singe  de  La  Fontaine,  which  contains  a  number  of  Boccaccio-La  Fontaine 
imitations.  The  last  quarter  of  the  eighteenth  century  saw  a  renewal  of 
interest  in  Boccaccio  which  was  especially  marked  in  Germany.  Goethe 
in  1776  writes  of  a  projected  drama  based  upon  the  Falcon  story;  Lessing's 
Nathan  der  Weise  (1779)  immortalized  the  story  of  the  three  rings;  Burger, 


BOCCACCIO  AND  HIS  IMITATORS  3 

in  his  Lenardo  und  Blandine  (1776),  retold  the  Ghismonda  story  in  verse, 
and  Langbein,  in  his  Schwdnke  {I'jgi),  the  "Seventh  of  the  Seventh." 

Paul  Heyse  versified  the  story  of  Cymon  and  Iphigenia  in  his  Braut 
von  Cy pern  (1856),  whUe  Billow's  Novellenhuch,  oder  Hundert  Novellen 
nach  alien  italienischen,  spanischen,  franzosischen,  laleinischen,  englischen 
und  deutschen  bearheilet  (1836),  besides  its  framework,  owes  one  tale  to 
Boccaccid,  "Der  Genius."  This  awakening  of  enthusiasm  for  Boccaccio 
had  its  parallel  among  the  Romanticists  of  England  and  Franc&%  That 
only  his  premature  death  kept  Keats  from  following  up  his  "Isabella" 
(181 9)  with  other  romances  from  Boccaccio  is  shown  by  a  letter  of  Reynolds 
in  which  this  statement  is  made:  "Two  stories  from  Boccaccio,  the  '  Garden 
of  Florence'  and  the  'Ladye  of  Provence,'  were  to^have  been  associated  with 
tales  from  the  same  source,  intended  to  have  been  written  by  a  friend" 
(Keats).  In  181 9,  Barry  Cornwall  anticipated  Tennyson  and  Longfellow 
in  his  poem  of  the  "Falcon,"  and  Collier's  Poetical  Decameron  (1820), 
reviews  Lewicke's  version  of  the  ever-popular  story  of  Titus  and  Gesi[)pus. 
Toward  the  middle  of  the  century  the  pre-Raphaelite  painters,  Holman 
Hunt  and  Millais,  both  painted  pictures  illustrating  the  tale  of  "Lorenzo 
and  Isabella,"  and  Alillais  painted  "Cjinon  and  Iphigenia,"  a  subject  treated 
later  in  1884  by  Sir  Frederick  Leighton.  Tennyson's  "Golden  Supper"  is 
imitated  either  from  Turberville's  Tragical  Tales  (1576)  or  from  Boccaccio, 
and  William  Black,  in  his  Sabina  Zemhra  (1889)  (Anschiitz),  gives  a  resumd 
of  the  falcon  story  taken  either  from  Tennyson  or  Boccaccio.  Strange  to 
say,  in  this  era  of  woman's  rights,  a  number  of  versions  of  the  Griselda 
narrative  have  appeared.  Silvestre  and  Morand  '(1893)  wrote  a  mysthre 
entitled  Griselidis,   and  Hauptman  also  has  produced  a  Griselda  drama. 

Out  of  the  hundred  stories  of  the  Decatneron  some  have  naturally  been 
more  jjopular  than  others.  Several  have  been  worked  over  in  poetical  or 
dramatic  form  as  many  as  thirty  or  forty  times,  while  others  have  been 
retold  only  once.  That  the  popularity  of  these  tales  did  not  depend  entirely 
upon  Boccaccio's  skill  as  a  story-teller  but  upon  the  story  itself  is  shown  by 
the  fact  that  those  which  in  Landau's  Quellen  des  Decamcrons  have  the 
longest  pedigree  are  generally  such  as  have  been  most  often  imitated  since 
Boccaccio's  time.  From  the  Orient  to  the  Occident,  the  faithful  friend, 
the  patient  wife,  and  the  unhappy  lover  have  always  aijjjcaled  to  jwjjular 
symfjathy,  while  a  joke  which  has  in  it  enough  of  humcjr  to  render  it  forever 
laughable,  such  as  the  one-legged  goose,  although  Boccaccio's  version  of 
it  is  not  particularly  well  written,  counts  more  than  twenty  imitations. 

The  narrative  which  leads  in  poj^ularity  in  all  the  countries  of  Europe 
is  the  last  story  of  the   Decameron — that  of   Patient   Griselda   (X,   10). 


4  BOCCACCIO  AND  HIS  IMITATORS 

Chaucer,  Hans  Sachs,  Lope  de  Vega,  Perrault,  and  Goldoni  have  all 
availed  themselves  of  this  subject,  besides  a  host  of  minor  viriters.  As 
early  as  the  end  of  the  fourteenth  century  her  story  formed  the  subject  of  a 
mxstbre.  Although  Griselda  did  not  rank  as  a  saint,  her  sufferings  seemed 
to  entitle  her  to  a  f)lace  not  far  belovif  them.  Naturally  enough  this  recital 
was  used  to  point  a  moral  in  numerous  Miroirs  des  Dames  and  Exemples  de 
bonnes  et  mauvaises  femmes,  while  Lope  de  Vega  entitles  his  Griselda 
play.  El  exemplo  de  casadas.  The  story  was  in  Spain  the  most  popular  of 
the  Decameron.  To  the  jealous  Spaniard  who  kept  his  wife  bolted  and 
barred  behind  her  balconied  window,  Griselda  would  indeed  seem  a 
"perfecta  casada." 

At  the  present  day,  the  conduct  of  Griselda  appears  foolish  and 
unreasonable,  and  her  weak  submissiveness  most  irritating.  It  is  necessary 
to  remember,  however,  as  has  often  been  pointed  out,  that  she  was  the 
vassal  as  well  as  the  wife  of  the  marquis.  Another  reason  sometimes 
assigned  for  the  popularity  of  the  story  is  the  fact  that  the  type  of  woman 
most  commonly  portrayed  in  the  fabliau  is  weak  and  frivolous  and  that  the 
character  of  Griselda  is  purposely  exaggerated  to  show  that  an  obedient 
wife  was  altogether  an  impossibility.  In  a  treatise  of  the  latter  part  of  the 
fifteenth  century,  sometimes  ascribed  to  Albrecht  von  Eyb,  on  the  question 
"heirathen  und  nicht  heirathen,"  the  negative  side  is  supported  by  the 
argument,  "Die  frauen  sind  hoffartig  und  herrsiichtig,"  while  the  affirma- 
tive asserts  "Es  giebt  viele  heilige  Frawen,"  and  follows  with  the  tale  of 
patient  "Grisardis."  Aside  from  serving  as  an  encouragement  to  those 
who  contemplate  matrimony,  the  Griselda  story  was  made  by  Petrarch  to 
sen^e  as  a  sort  of  allegory,  a  personification  of  the  human  soul,  afflicted  by 
heaven — a  suggestion  which  was  taken  up  by  countless  preachers  who 
worked  over  and  over  the  well-worn  subject,  until  every  particle  of  its 
didactic  suitability  was  well-nigh  exhausted.  ,  It  is  hard  now  to  understand 
the  great  authority  exercised  all  over  Europe  in  literary  matters  by  Petrarch. 
His  judgment  was  final,  and  when  he  took  Griselda  as  a  specimen  of  the 
ever-popular  t)rpe  of  the  "persecuted  woman,"  reasonable  or  unreasonable 
though  her  conduct  might  be,  and  set  her  up  in  the  niche  of  fame,  a  saint 
she  must  always  remain. 

The  next  most  popular  recital  in  the  Decameron  is  that  of  Ghismonda 
(IV,  i),  which  has  been  dramatized  and  set  to  music  and  painted  until  its 
renderings  reach  the  number  of  forty.  The  character  of  Ghismonda  is 
exactly  the  opposite  of  that  of  Griselda,  but  the  disobedient  daughter 
appealed  to  the  popular  imagination  quite  as  much  as  the  obedient  wife. 
One  thing  is  certain,  however,  the  fiery  Ghismonda  is  not  quoted  in  any 


BOCCACCIO  AND  HIS  IMITATORS  5 

Mirair  as  an  example  for  daughters  to  follow.  The  story  owes  its  popularity 
to  its  own  merits  and  not,  as  in  the  case  of  the  Griselda  narrative,  to  the 
influence  of  Petrarch.  A  secret  passageway,  discovery,  murder,  suicide, 
all  made  up  a  first-class  tragedy,  then  as  now.  In  addition  to  all  these 
horrors  the  recital  contains  one  version  of  the  popular  story  of  the  "eaten 
heart"  of  which  another  version  is  contained  in  the  account  of  the  wife  of 
Guglielmo  of  Rossiglione  which  is  in  this  same  day  of  the  Decameron. 
The  heart  of  Ghismonda's  lover  is  served  up  to  her  in  a  goblet  by  hef  father 
— a  dramatic  climax  which  appealed  strongly  to  a  sixteenth-century  audience 
which  reveled  in  the  gloomy  Senecan  tragedy.  It  is  the  first  Italian  novel 
which  was  dramatized  for  the  English  stage.  In  Italy  the  narrative  was 
especially  popular — a  dozen  or  more  Italian  writers  dramatized  it,  and 
operas  were  composed  upon  the  subject.  The  unhappy  lovers  hence- 
forth were  mentioned  in  literature  along  with  Paolo  and  Francesca,  Romeo 
and  Juliet,  Tristan  and  Isolde,  and  were  even  used  to  adorn  the  backs  of 
playing-cards  in  Spain.  As  compared  with  the  Griselda  story  with  its 
happy  ending  which  made  it  after  all  a  comedy  in  the  Dantean  sense,  the 
horrible  ending  of  the  Ghismonda  incident  makes  of  it  a  real  tragedy,  an 
accumulation  of  horrors  hardly  equaled  by  anything  from  Seneca's  pen. 

In  cheerful  contrast  to  the  foregoing  narratives  stands  the  seventh 
story  of  the  seventh  day  of  the  Decameron.  Madonna  Beatrice,  instead  of 
being  a  persecuted  heroine,  is,  instead,  the  persecutor  of  her  husband. 
She  is  the  conventional  heroine  of  the  fabliau  and  as  such  she  is  most  popu- 
lar in  French  literature,  where  La  Fontaine's  witty  version  of  the  tale  made 
it  so  popular  that  within  the  next  century  more  than  half  a  dozen  comedies 
and  light  operas  bore  the  title  Mari,  cocu,  baitu  et  content.  Instead  of  being 
the  heroine  of  only  one  narrative,  the  same  lady,  under  different  names, 
masquerades  in  all  the  stories  of  the  seventh  book,  now  hiding  her  lover  in 
a  cask,  now  shutting  the  door  in  her  husband's  face,  and  now  making  him 
believe  that,  having  eyes,  he  sees  not. 

With  Ginevra,  who  ranks  as  fourth  in  poi)ularity  among  Boccaccio's 
heroines,  we  have  another  persecuted  lady,  who,  patient  and  forgiving  as 
she  shows  herself  to  be,  is  far  removed  from  the  too  humble  Griselda] 
The  wager  with  which  the  story  begins  is  as  old  as  the  time  of  the  Tarquins, 
and  affords  a  never-failing  element  of  human  interest.  The  villain  is  as 
deep-dyed  a  villain  as  lago.  The  old  servant  who  refuses  to  carry  out 
orders  to  kill  the  wife  or  children  of  his  master  is  also  a  favorite  character 
in  fiction.  Then  there  is  the  ever-[)opular  "recognition  sc(!ne"  and  the 
punishment  of  the  villain.  Shakspere,  with  his  unerring  feeling  for  what- 
ever was  most  j^ojiular  in  the  dramatic  material  at  liand  in  liis  time,  seized 


6  BOCCACCIO  AND  HIS  IMITATORS 

upon  this,  one  of  the  best-known  stories  of  his  time,  as  the  subject  of  his 
Cymbeline.  While  Ginevra  is  not  the  subject  of  a  "mystery"  as  was 
Griselda,  she  is  the  subject  of  a  "Miracle  de  Notre  Dame,"  the  scene 
of  which  is  laid  in  Spain,  the  refusal  of  the  old  servant  to  carry  out  his 
orders  being  naturally  attributed  to  the  intervention  of  the  Virgin. 

Boccaccio's  selection  of  feminine  types  of  character  would  not  be 
complete  without  including  that  of  the  simpleton,  the  silly,  vain,  sentimental 
woman,  Madonna  Lisetta,  the  Venetian  lady  who  was  persuaded  by  her 
confessor  that  the  Angel  Gabriel  was  in  love  with  her,  whose  story,  strangely 
enough,  is  found  in  the  fourth  book  of  the  Decameron  which  begins  with 
the  account  of  Ghismonda  and  contains  nothing  else  but  "tragical  tales." 
Marmontel's  version  of  this  recital  has  become  famous  in  French  litera- 
ture, and  his  Mart  Sylphe,  which  satirized  the  feminine  sentimentalism 
of  his  time,  was  both  preceded  and  followed  by  a  number  of  tales  of  the 
same  character  and  bearing  the  same  title,  in  which  the  vain,  credulous, 
sentimental  young  wife  is  held  up  to  ridicule  even  more  skilfully  than  in 
Boccaccio.  Perhaps  it  is  not  too  much  to  say  that  a  more  or  less  far- 
fetched parallel  can  be  found  between  almost  every  modern  novel  and 
some  story  of  the  Decameron.  In  making  such  a  comparison,  surely  it 
might  be  said  that  this  story  contains  in  germ  the  plot  of  Madame  Bovary. 
This  exhausts  the  list  of  Boccaccio's  most  popular  heroines  and  we  now 
turn  to  a  discussion  of  his  heroes.  The  faithful  friend  far  surpasses  in 
popularity  the  unhappy  lover  or  any  other  masculine  type  presented  by 
Boccaccio.  The  history  of  Titus  and  Gesippus  (X,  8)  numbers  almost 
as  many  imitations  as  the  Griselda  story.  Just  as  the  tale  of  Ginevra 
dealt  with  the  same  theme  as  the  legend  of  Lucretia,  and  the  Ghismonda 
and  Guiscard  narrative  is  that  of  several  unhappy  lovers  of  antiquity — 
Pyramus  and  Thisbe,  Hero  and  Leander — so  these  two  friends  were 
known  to  the  ancients  as  Damon  and  Pythias,  Orestes  and  Pylades.  The 
story  was  especially  popular  in  England  where  in  Elyot's  Governor  the 
incident  is  given  as  a  model  of  what  a  gentleman's  conduct  ought  to  be. 
So  well  known  was  the  story  that  it  was  mentioned  whenever  the  subject 
of  friendship  was  discussed.  In  Italy  the  narrative  seems  to  have  been 
less  popular,  although  it  was  one  of  the  three  which  Beroaldo  translated 
into  Latin  before  the  beginning  of  the  sixteenth  century,  along  with  the 
romance  of  Cymon  and  that  of  Griselda.  The  masculine  mind  perhaps 
_y  more  than  the  feminine  loves  to  propose  to  itself  difficult  questions  of 
'-^  conduct  and  to  settle  them  in  imagination,  at  least,  in  a  magnanimous  way. 
This  story  is  a  Boccaccio  version  of  the  eternal  de  amicitia  theme,  of  which 
the  reductio  ad  absiirdiim  is  found  in  Goldoni's  II  vero  amico.     Closely 


BOCCACCIO  AND  HIS  IMITATORS  7 

related  to  the  story  of  Titus  and  Gesippus  in  spirit  is  that  of  Federigo 
(V,  9),  the  faithful  lover  who  sacrificed  his  beloved  falcon  to  please  his 
lady.  Here  again  a  difiicult  question  of  conduct  is  settled  in  a  way  that 
accords  with  the  ideals  of  the  time  in  regard  to  unquestioning  obedience  to 
the  wishes  of  the  liege  lady  and  perfect  obsen-ance  of  the  laws  of  hospitality. 
Federigo  is  at  the  same  time  the  perfect  lover  and  the  perfect  host.  Besides 
these  reasons  the  story  probably  owed  much  of  its  popularity  to  the  fact 
that  falconry  was  more  than  a  favorite  amusement  with  the  nobles  of  the 
fifteenth  and  sixteenth  centuries.  It  was  a  ruling  passion,  a  fact  which 
made  the  sacrifice  of  Federigo  seem  almost  equal  to  that  of  a  father  sacri- 
ficing his  child.  The  "best  short  story  in  any  literature,"  as  it  has  been 
called,  is  also  by  popular  consent  one  of  the  most  popular. 

The  servant  who  gets  the  better  of  his  master  by  means  of  a  witty 
answer  is  too  common  in  comedy  and  real  life  to  escape  the  attention  of 
Boccaccio.  Chichibio  (VI,  4),  the  cook,  and  his  famous  story  of  the 
one-legged  crane  seem  to  have  been  especially  popular  in  German  and 
English  literature.  How  it  came  across  the  ocean,  to  be  told  and  retold 
by  the  negroes  of  the  South,  seems  at  first  hard  to  explain,  but  when  it  is 
remembered  that  the  first  colonists  in  Virginia  probably  brought  with 
them  or  related  at  table  tales  from  Tarletoii's  Newes  out  of  Purgatorie,  it  is 
easy  to  see  how  the  vision  of  the  poor  cook,  sitting  in  putgatory  for  having 
stolen  the  leg  of  a  chicken,  would  appeal  to  the  imagination  and  conscience 
of  the  old  family  negroes,  who  told  and  retold  the  story  until  it  was  embodied 
in  literature  in  Colonel  Carter  of  Cartersville. 

Still  another  popular  masculine  type  is  that  of  the  merchant  who  comes 
to  town  and  is  robbed  by  a  woman  who  pretends  to  be  his  long-lost  sister 
or  cousin  or  aunt.  Andreuccio  of  Perugia,  the  horse  merchant  who  went 
to  Naples,  and  who  had  probably  got  the  better  of  his  neighbor  in  many 
a  horse-deal,  and  now  finds  himself  in  a  ridiculous  plight  in  a  strange  city, 
was  too  good  a  subject  for  ridicule  not  to  render  popular  Boccaccio's 
narrative.  Next  to  imagining  himself  a  hero,  the  average  man  loves  to 
laugh  over  his  fellow-man  who  is  duped  by  a  woman. 

So  far  as  the  ]jopularity  of  a  narrative  may  be  determined  by  the  num- 
ber of  imitations  of  it  which  have  been  discovered,  the  sixth  .story  of  the 
seventh  day,  that  of  Madonna  Isabella  and  her  two  lovers,  comes  next. 
The  po[jularity  of  this  seventh  book  of  the  Decameron,  which  is  sometimes 
called  that  of  "woman's  wiles,"  is  shown  by  the  fact  that  this  is  the  second 
story  from  that  book  which  has  been  adjudged  to  be  the  most  jmpular. 
One  other  book,  the  tenth,  furnishes  two  of  the  most  popular  tragic  tales. 

Thus  has  the  world  made  its  unconscious  selection  of  llu-  narratives  that 


8  BOCCACCIO  AND  HIS  IMITATORS 

have  pleased  it  most.  Dififerent  persons  have  ventured  to  make  arbitrary 
selections  of  the  "best  stories"  in  the  Decameron,  but  the  unconscious 
judgment  of  posterity  is  a  better  criterion  of  the  worth  of  a  story  than  that 
of  any  one  person  or  group  of  persons.  Boccaccio  himself  in  the  Decameron 
made  a  selection  of  the  "hundred  best  stories"  of  his  time,  some  of  which 
now  seem  to  us  far-fetched  and  void  of  interest,  but  sifted  as  they  have  been 
in  the  course  of  time,  these  ten  romances,  which  are  not  merely  twice-told 
tales  but  which  have  been  retold  forty  and  fifty  times  even,  contain  in  them 
most  of  the  elements  of  comedy  and  tragedy  which  fall  within  the  range 
of  human  experience. 

The  accompanying  tables  are  intended  to  show  the  relative  popularity 
of  the  dififerent  Novelle  of  the  Decameron.  It  must  be  acknowledged  that 
merely  adding  up  the  different  versions  without  regard  to  their  importance 
is  not  a  perfectly  satisfactory  test,  yet  it  is  perhaps  the  best  that  can  be 
devised  and  gives  a  result  that  is  approximately  correct.  No  matter  how 
poor  the  imitations  may  be,  these  frequent  repetitions  of  a  tale  show  that 
it  w§3  one  of  which  the  world  never  grows  weary. 

r'T'^Of  the  ten  authors  cited  as  the  principal  imitators  of  Boccaccio,  Hans 
Sachs  easily  leads  the  rest  in  the  quantity  and  La  Fontaine  in  the  quality 
of  his  imitations.  Chaucer  in  England  and  Lope  de  Vega  in  Spain,  by 
imitating  the  Italian  story-teller,  contributed  something  new  to  the  litera- 
ture of  their  respective  countries.  While  the  literary  value  of  Sercambi's 
versions  is  not  great,  he  helped  to  keep  alive  in  the  minds  of  his  country- 
men the  memory  of  Boccaccio  until  the  invention  of  printing.  Martin 
■Montanus  in  his  Gartengesellschajt  and  Timoneda  in  his  Alivio  de  los  Ca- 
minantes  retell  the  old  tales  with  few  additions  or  modifications.  Nicolas 
de  Troyes  does  the  same.  Painter  merely  selects  and  translates,  and  San- 
so\'ino,  whose  collection  is  exactly  contemporaneous  with  Painter's,  is  an 
out-and-out  plagiarist  who  refuses  to  acknowledge  his  debt  to  Boccaccio. 
These  ten  authors,  then,  represent  the  two  classes  of  imitators,  those  who 
merely  transcribed  and  those  who  made  out  of  the  old  tale  a  new  literary 
product.  All  but  two,  Chaucer  and  Sercambi,  belong  to  the  sixteenth 
century  and  are  representative  of  a  renaissance  which  resurrected  Petrarch 
and  Boccaccio  as  well  as  Plautus  and  Seneca. 

The  geographical  remoteness  of  these  different  authors  shows  with  what 
comparative  rapidity  literary  fashions  spread  from. one  country  to  another. 
While  Hans  Sachs  was  turning  Novelle  into  Schwdnke,  Nicolas  de  Troyes 
put  out  his  Grand  Parangon  de  Nouvelles  and  a  little  later  Timoneda  wrote 
his  patranas.  From  Nuremberg  to  Seville,  Griselda  was  enshrined  in  the 
hearts  of  the  populace  as  a  domestic  saint,  and  the  one-legged  crane  crossed 


BOCCACCIO  AND  HIS  IMITATORS  9 

mountains  and  rivers  and  seas  to  be  finally  metamorphosed  into  the  one- 
legged  goose. 

In  estimating  the  popularity  of  Boccaccio  in  different  countries  Germany 
is  found  to  surpass  the  others.  There  are  several  explanations  for  this. 
Germany  was  nearer  geographically  to  Italy  than  the  other  countries. 
Hans  Sachs  was  indefatigable  in  his  work  of  adapting  the  "cento  novella" 
to  the  taste  of  his  countrymen  and  influential  enough  to  leave  after  him 
such  men  as  Martin  Montanus  and  Ayrer  to  continue  the  work.  -German 
scholars  with  unwearying  patience  have  ferreted  out  these  metamorphosed 
Novelle  in  their  own  literature  more  thoroughly  than  has  been  done  in 
other  countries.  As  for  Spain,  the  small  number  of  imitations  found  in  the 
literature  of  that  country  is  partly  due  to  the  fact  that  only  recently  has  the 
field  begun  to  be  worked.  The  spirit  and  atmosphere  of  the  Decameron, 
however,  pervades  from  beginning  to  end  that  panorama-like  succession 
of  episodes  which  makes  up  the  picaresque  novel. 

In  his  o^vn  country,  the  memory  of  Boccaccio  was  kept  alive  by  that 
long  line  of  Italian  novelists  which  includes  Sacchetti,  Bandello,  and  Stra- 
parola,  no  one  of  whom  borrowed  more  than  a  dozen  or  twenty  tales  from 
the  master,  but  whose  aggregate  of  imitations  is  considerable.  Boccaccio's 
mission  here  seems  to  have  been  to  elevate  story-telling  to  a  profession  and 
to  call  into  existence  the  professional  story-teller. 

Among  the  French,  the  framework  of  the  Decameron  seems  to  have  been 
imitated  even  more  than  the  novella,  in  such  collections  as  the  Cent  Nou- 
velles  Nouvelles,  the  Joyeux  Devis,  the  Tresor  des  Recreations,  the  Comptes 
du  Monde  aventureux,  the  Series,  and  the  Heptameron.  France,  too, 
enjoys  the  distinction  of  being  the  only  nation  which  has  proiluced  a  rival 
to  Boccaccio,  the  incomparable  La  Fontaine,  to  whose  exam])le  and  ])restige 
is  due  a  large  number  of  the  versions  which  go  to  swell  the  number  of  Boc- 
caccio imitations  in  that  country.  The  smaller  number  of  those  found  in 
English  literature  may  be  due  to  the  fact  that  until  r62o  no  complete  Eng- 
lish translation  of  the  Decameron  was  publisiied.  But  whatever  it  may 
lack  in  quantity  is  made  u])  in  quality,  the  genius  of  Chaucer  and  Shak- 
spere  has  adfled  more  t(j  the  glory  of  Boccaccio  llian  dozens  of  versions  by 
less  renowned  imitators. 


lO 


BOCCACCIO  AND  HIS  IMITATORS 


TABLE  A 
The  following  table  shows  the  number  of  imitations  of  each  novella.     As  will 
readily  be  seen,  the  ten  most  popular  ones  are  in  order  of  popularity:   X,  lo;   IV,  i; 
VII,  7;   X,  8;    II,  9;    IV,  2;   VII,  6;   V,  9;   VI,  4;    II,  5. 

Giornata 


Novella 

I 

II 

III 

IV 

V 

VI 

VII 

VIII 

IX 

X 

I 

2 

3 

4 

5 

6 

7 

8 

9 

10 

3 
9 

7 
4 
4 

I 

2 
4 
3 

I 

13 

4 

5 

18 

7 

4 

14 

29 

8 

S 

9 

18 

2 

ID 

6 

3 

17 

II 

6 

40 

27 
2 

3 

7 
4 
3 

14 
7 
6 

15 

2 

3 
9 
3 
2 

5 
15 

21 

3 

3 

I 

3 

20 

I 
I 

3 
0 

I 

14 

2 

8 

5 
16 

13 
25 
35 
19 
10 
I 

12 
7 
3 

12 
0 
4 
5 

18 

3 
3 

14 
19 

6 

I 
2 
14 
3 
3 
3 
7 

9 

5 

2 

12 

10 

I 

4 

35 

6 

50 

Approxi- 
mately 

40- 

lOO-l- 

904- 

100 -f 

70  + 

50- 

130-t- 

604- 

80+ 

130  + 

Total  850 -I- . 

TABLE  B 

The  ten  authors,  a  summary  of  whose  imitations  of  Boccaccio  is  given  in  the  fol- 
lowing table,  are  selected,  two  from  each  country,  Germany,  England,  France,  Spain, 
and  Italy,  to  show  the  wide  geographical  distribution  of  these  tales  of  the  Decameron. 
This  table  shows  that  the  ten  most  popular  ones  mentioned  above  have  nearly  all 
been  imitated  by  four  or  five  of  these  authors. 

GERMANY 

Hans  Sachs 

•  2-3-6. 

■  2-4-5-6-9. 
. 1-2-3-6-8. 
. 1-2-3-4- 5-6-7-8-10. 

■  1-3-7-8-9-10- 

•  1-4-5-10- 

•  1-4-5-6-7-8- 


I 

II 

III 

IV 

\' 

VI 

VII 

VIII 

IX 

X 


. I-2-3-4-6-7-9-IO. 

■ -1-2-3-4-5-6-7-8-9- 

. 2-4-7-8-10. 
Chaucer 


III.. 

.4. 

VII.. 

.9. 

/III.. 

.1. 

IX   . 

.6. 

X.. 

.5-10 

Martin  Montanus 

I.  . 

•  4- 

II.. 

.--8. 

III.  . 

•1-3-7- 

IV.. 

. 1-2-5-8-10. 

v.. 

.1-10. 

VI.. 

.4-7-10. 

VII.. 

•2-3-4-5-7- 

VIII.. 

.2-8. 

IX.. 

. 2-6-10. 

X.. 

.8. 

) 

] 

^AINTER 

I.. 

.3-5-8-10. 

II... 

■  2-3-4-5-8. 

III.. 

.9. 

IV.. 

.1. 

VIII .  . 

•7 

X.. 

■  3-4-5-9- 

BOCCACCIO  AND  HIS  IMITATORS 


II 


FRANCE 

Nicolas  de 

Troyes 

La  Fontaine 

I... 

•  2-5-10. 

II. 

. .  .  2. 

II... 

•  2-3-5-6-7- 

-9- 

III. 

. . . 1-2-3-5-6-S-10 

III... 

. 4-6-9-10. 

IV. 

.  .  .2. 

IV... 

. 1-3-6-8-g. 

V. 

...4-9- 

v.. 

.3-4-6-7-8. 

VII. 

.  . .  2-5-7-8-9. 

VI... 

.3-7-10. 

VIII. 

. .  .  1-8. 

VII.  . . 

. 3-7-8-10. 

IX. 

. . . 2-6-10. 

VIII... 

. 1-2-4-7-8. 

IX.. 

. 1-2-3-5-8- 

-9-10. 

X... 

. 1-2-4-5-6- 

-7-8-9-10. 

SPAIN 


Lope  de  Vega 

n. 

. .  2. 

III. 

■3- 

V. 

..4-9. 

VIII. 

.  .  10. 

X. 

. .  1-8-10. 

TiMONEDA 
II....  5-9. 

VI.... 4. 

VII....7-8. 

X....I-8-IO. 


I. 

II. 

III. 

IV. 

VI. 

VII. 

X. 

X. 

IV. 
VII. 

X. 

II. 

IV. 

VII. 

V. 

VI. 

II. 


Sercambi 

9- 

2-4. 

1-2-3-4-8-10. 

9- 

1-3- 

4- 

10, 

10 


.Han.s  Sachs; 

Sercambi; 
.Hans  Sachs; 
.Hans  Sachs; 

Sansovino 
.  Hans  Sachs 
.  Hans  Sachs 
.  Hans  Sachs 
.  Hans  Sachs 
.  Hans  Sachs 
.  Hans  Sachs 
.  Han.s  Sachs 


Sansovino 
. . .  5-7-9-10. 
...3-4-5-8-9. 
. . . 4-6-9. 
. . . 1-2-4-9. 
...4-6-7-8. 
...3-4-6. 
...7-8. 

Lope  de  Vega;  Timoncda; 


ITALY 

I.. 
II.. 

v.. 

VI.. 

VII.. 

VIII.. 

IX.. 

Nic(olas)  (ie  T(royes); 
Chaucer. 
Montanus;  Painter;  Nic.  de  T. 

Montanus;    Nic.  de  T. ;    La  Fontaine;    Timoncda; 

Montanus;  Nic.  de  T. ;  Timoneda;  Lope  de  Vega. 
Nic.  deT. ;  Timoncda;  Sansovino. 
Montanus;  La  Fontaine. 
Sansovino. 

La  Fontaine;  Lope  dc  Vega;  Sansovino. 
Montanus;  Timoneda;  San.sovino. 
Montanus;    Painter;    Nic.  dc  T.;    Timoncda;    San- 


12 


BOCCACCIO  AND  HIS  IMITATORS 


TABLE  C 

The  following  summary  by  days  of  the  total  number  of  imitations  in  difiFerent 
countries  shows  an  approximate  total  of  850  imitations. 


I 

II 

III 

IV 

V 

VI 

VII 

VIII 

IX 

X 

Total 

13 

5 

9 

0 

II 

23 
22 

25 

5 
20 

17 
14 
30 
3 
23 

32 
24 
24 

5 
27 

17 
21 

17 
2 

19 

23 

5 

5 

3 

II 

37 
25 
38 
5 
29 

25 

5 
21 

2 
13 

26 

7 
19 

I 

17 

39 
38 
18 
18 
22 

250  + 
150  + 
200  + 

England 

Spain 

200  — 

Italy 

Approximately 

850  + 

*i598. 
*i767. 

1570. 

*i548. 

*i563- 

1563- 

*i566. 

1542. 
*i536. 
*i69i. 

1804. 

1570- 


'1545- 
1563- 
*i746. 
*i779. 
*i566. 
*i704. 

*I72I. 


*i557- 
1608. 
1788. 
1808. 


I.     I 

Ayrer:  Der  Falsch  Notarius  mil  seiner  unwahrhajten  Beicht. 

Voltaire:   Lettre  a  S.   A.   Monseigneur  le  Prince  de  XXX,  sur 

Rabelais. 

Olimpia  Fulvia  Morata:  Opera. 

I.     2 

Hans  Sachs:  Schwdnke,  "Der  Jud  am  romischen  hof." 

Kirchhof:    Wendunmuth,  "Von  der  romischen  Keuschheit." 

Pauli:   Schimpf  und  Ernst,  fol.  61. 

Luther:   Tischreden,  "Der  Jud  von  Wittenberg." 

Bebelius:  Facetiae. 

Nicolas  de  Troyes:  Parangon,  "D'un  Juif  qui  demeuroit  a  Paris." 

Mme  de  Sevigne :  Lettre  a  Monsieur  de  Coulanges. 

Lantier:  Correspondance  de  Suzette  d'Arly^  Lett.  CXLL 

Olimpia  Fulvia  Morata:  Opera. 

I.     3 

Hans  Sachs:   Schwdnke,  "Der  Jud  mit  den  dreyen  ringen." 

Pauli:  Schimpf  und  Ernst,  fol.  8. 

Gellert:   Gedichte,  "Die  Geschichte  von  dem  Hute." 

Lessing:  Nathan  der  Weise. 

Painter:  Palace  of  Pleasure,  "The  Three  Rings." 

Swift :   Tale  of  a  Tub. 

Anon,  poem,  Dublin:   "Saladin  est  assez  connu."     (Manni.) 

I.     4 

Martin  Montanus:   Gartengesellschaft,  "Ein  junger  monch." 

Mahrold :  RoUmarschkasten. 

Imbert:  Fabliaux. 

Guichard:  Fables  el  Contes,  "Le  moine  ruse." 


BOCCACCIO  AND  HIS  I^OTATORS  13 

I.     5 

*i567.   Painter:  Palace  of  Pleasure,  "The  Marchioness  of  Monferrato." 
*i536.   Nicolas  de  Troyes:  Parangon,  "D'une  belle  bourgeoise  de  qui  un 

roi  fut  amourevix." 
*i523.    Cornazzano:  Proverbi,  "Verchh  si  dice  aWter.     Tutta  e  fava." 
*i566.   Sansovino:  Cento  Novell e  Seel te,  "La  Marchesanadi  Monferrato." 

I.     6 
*i544.   Hans  Sachs:  Schwanke,  "Die  hundert  suppenkessel." 

I.     7 

*i566.   Sansovino:  Cento  Novelle  Scelte,  "Bergamino  morde  una  avaritia." 
*i554.   Straparola:  Notti,  XIII,  7,  "Giorgio  Servo." 

I.     8 
*i566.    Painter:   Po/ace  p/P/ea^wre,  "Borsieri  and  Grimakli." 
1570.    Castelvetro:  Arte  Poetica,  "Domandando  messer  Erminio." 

I.     9 
1876.   Topin:  Diversites  Litteraires,  "La  justice  et  la  vertu  des  rois." 
♦1375.   Sercambi:    Novelle,   "De   Pigritia — II   re   Sparaleone   di   Porto- 

gallo." 
*i566.   Sansovino:  Cento  Novelle  Scelte,  "II  r^  di  Cii)ri." 
*i875.    Papanti:   /  Parlari  di  Certaldo. 

I.  10 

♦1566.    Painter:   Palace  of  Pleasure, '' AXhevto  oiBoXogm." 

♦1536.   Nicolas  de  Troyes:  Parangon,  "D'un  viel  medecin  (lui  fut  amou- 

reux." 
*i566.    Sansovino:   Cento  Novelle  Scelte,  "Messer  Alberto  da  Bologna." 

II.  1 

1563.    Pauli:  Schimpf  und  Ernst,  fol.  9. 

n.    2 

♦1547.    Hans  Sachs:  Schwanke,  "Rinaldus,  dcr  i)tTa\\i)t  kauffmon." 

♦1566.   Painter:  Po/arc  o/P/ea5Mre,  "Rinaldo  of  Este." 

*i6o2.    Ben  Jonson:    The  Widow. 

*i536.   Nicolas  de   Troyes:     Parangon,   "D'nii   man  hand   (jui   fut  des- 

troussd." 
*i666.    La  Fontaine:   Conies,  "L'Oraison  de  Sainl  Julian." 


14  BOCCACCIO  AND  HIS  IMITATORS 

1704.  Houdart  de  la  Motte:   Le  Talisman. 

1765.  Lemonnier:  Renaud  d'Asti. 

1 771.  CoUe:  La  Veuve. 

1783.  Radet:  Renaud  d'Ast. 

1834.  Lacoste:  UOraison  de  Saint  Julien. 

*i6i6.  Lope  de  Vega:   El  llegar  en  ocasion. 

*i375.  Sercambi:   Novelle,  "De  devotione  in  Santo  Juliano."  V 

11-     3 

C^    *i566.   Painter:  Palace  of  Pleasure,  "The  King  of  England's  Daughter." 
*i536.   Nicolas  de  Troyes:    Parangon,  "Un  neveu  qui  espousa  une  fille 

d'Angleterre." 
*i566.    Sansovino:     Cento   Novelle   Scelte,    "Tre    Giovani    male    il   loro 
havere  spendendo." 

II.     4 
*i558.   Hans  Sachs:  Schwdnke,  "Landolphus,  ein  burger." 
*i566.   Painter:   Palace  of  Pleasure,  "Landolfo  Ruffolo." 
1460.   Juan  Martorell:    Tirant  lo  Blanch,  cap.   CCL,  "Un  mercador- 
havia  posat  en  un  baril."     (Farinelli.) 
♦1375.   Sercambi:  A/'o?;e//e,  "De  restauro  facta  per  fortuna." 
*i566.    Sansovino:   Cento  Novelle  Scelte,  "Landolfo  Ruffolo." 

11-     5 

*i546.   Hans  Sachs:  Schwdnke,  "Andreuczo  mit  3  ungluck." 

1546.   Miigling:  Drei  unglUck  Andreutzo. 
♦1557.   Martin  Montanus:  Andreiitzo-Historia. 

1563.    Pauli:  Schimpf  und  Ernst,  io\.  2,S- 
♦1598.   Ayrer:   Ein  Fastnachtspiel  von  Antreuxo. 
*i566.   Painter:   Palace  of  Pleasure,  "  Andruccio.'^ 
*i677.   Aphra  Behn:   The  Rover. 
*i536.   Nicolas  de  Troyes:   Parangon,  "D'un  marchand  de  chevaux." 

1682.   Le  Noble:   Promenades,  "Blaise  Goulard." 
*i6i7.    Figueroa:  El  Passagero. 
*i6i8.   Espinel:  Marcos  de  Ohregon. 
♦1624.   Reyes:  El  Curial  de  Parnaso. 
♦1546.    P.  Aretino:   //  filosofo  (commedia). 

♦1566.    Sansovino:    Cento  Novelle  Scelte,  "Andreuccio  da  Perugia  venuto 
a  Napoli." 

161 2.   Vicentino:   Andreuccio  di  G.  B.  (poem). 


BOCCACCIO  AND  HIS  IMITATORS  1 5 

1748.   Anon.:    Nasceta,  Vita  e  Desgrazie  de  Biaso   Valentino   (poem) 
(vernacular). 
*i875.    Pitre:   Tradizioni  Popolari  Siciliani,  "Lu  figghiu  tistardu." 
1878.    Gianandrea:    Tradizioni  marchigiane,  "El  mercante." 
1880.   Nerucci:  Novelle  viontalesi,  "Paolino  da  Perugia." 


II.     6 

♦1549.   Hans  Sachs:   Historia,  "Die  edel  fraw  Beritola." 

*i588.    Greene:  Perimedes,  The  Blacksmith,  "Story  of  Mariana." 

*i6o2.   Aliddleton:  Blurt — Master  Constable. 

*i677.   Aphra  Behn:   The  Rover. 

*i536.   Nicolas  de  Troyes:    Parangon,  "Des   pitoyables   fortunes   d'une 

noble  femme  nommee  Bricole." 
*i565.    Giraldi  Cinthio:  Ecatommithi,  V,  8,  "Cesare  Gravina  si  fugge  da 

NapoU." 
♦1755.   Lami:  Novelle  letterarie,  "Carduino"  (also  in  Scelta  di  C.  L.). 

II.     7 

*i536.   Nicolas  de  Troyes:  Parangon,  "La  fille  du  Soudan  de  Babylonic." 
*i666.   La  Fontaine:  Contes,  "La  Fiancee  du  roi  de  Garbe." 

II.    8 

♦1558.    Martin  Montanus:   Spiel  vom  vertriehenen  grafen. 
*i563.    Kirchhof:    Wendunniiith,  "Von  den  gluckfiillcn  eines  graflfen  von 
Anglers." 

1584.    Germanus:    Comoedia   des    ohne    schuld    verjagten   grafjcns    von 
Angiers. 
♦1598.   Ayrer:   Der  Graf  von  Angiers. 

1601.   Anon.  ])lay  at  Cassel:    Von   den   wiinderharcn   glilcksfdUcn  cincs 
grafjen. 
♦1626.    Anon.  {>lay  at  Dresden:  Comedia  vom  Grafen  vom  Angiers. 
*i8i6.    Goethe:    Balladen,  "Der  Vertrielme  Graf."  (?) 

1817.    Hammer:   Ilistorischer  Rosengurtcn,  "Roiienol." 
♦1566.    Painter:   Palace  of  Pleasure,  "The  Karl  of  Angiers." 

1579.    Forrest  of  Fancy  (mentioned),  "The  good  Erie  of  Kngcrs." 

1 704.    Mary  Pit :    Violenta,  or  the  rewards  of  Virtue. 
♦1536.   Nicolas  de  Troyes:  Parangon,  "D'un  G^nte  qui  fut  it  Angiers." 
*[566.    Sansovino:  Cento  Novelle  Scelte,  "II  Conte  dWnversa." 


l6  BOCCACCIO  AND  HIS  IMITATORS 

/  n.    9 

*i548.  Hans  Sachs:  Commedia,  "Die  undultig  frau  Genura." 

1563.  Pauli:  Schimpf  iind  Ernst,  lo\.  10. 

1596.  Anon,  play  acted  at  Breslau:   Historia  von  einen  Kaufmann  von 

Padua. 

1682.  Kongehl:    Der  unsclmldig,  beschuldigten  Innocentian  Unschuld. 

*i85o.  Von  der  Hagen:   Gesammtahenteuer ,  "Von  zwein  Kaufmonnen." 

1 518.  Anon.:  Frederyke  of  Gennen.     Printed  at  Antwerp. 

■^       *i592.  Greene:  Philomela. 

*i6o3.  Westward  for   S?nelts,   "Fishwife's    Tale."     (Perhaps    published 

1620.) 

*i6o9.  Shakspere:  Cymheline. 

*i636.  Heywood:   Challenge  for  Beauty: 

1682.  Durfey:   The  injured  Princess,  or  the  fatal  Wager. 

1759.  Hawking.     (Altered  from  Shakspere.) 

1759.  Garrick.     (Altered  from  Shakspere.) 

1826.  Anon.:   The  Beautiful  Caroline.     A  Captain  of  Hussars. 

1498.  Anon. :  Miracle  de. Notre  Dame,  "Comment  le  roi d'Espaigne perdit 
sa  terre." 

*i536.  Nicolas  de  Troyes:   Parangon,  "D'un  marchand  qui  gagea  a  un 
autre." 

1796.  Dejaure:   Tnioghne,  ou  la  Gageure  indiscrbte. 

*i 566.  Timoneda:  Patranuelo,  " Finea  fue  juez de  su  marido." 

*i566.  Sansovino:  Cento  Novelle  Scelte,  "Bemabo  da  Genova." 

^  1570.  Castelvetro:  Ar/e  Poe^zca,  "Del  vanto  del  giuoco,"  etc. 

1755.  Lami:  Novelle  letterarie  di  Firenze,  "La  Pianella." 

*i875.  Imbriani:  Novellaia  fiorentina,  "Novella  del  Signer  Giovanni." 

*i875.  Pitre:  Fiabe  Siciliane,  "La  Stivala." 

II.     10 

*i666<   La  Fontaine:  Cow/e5,  "Le  Calendrier  des  Vieillards." 
1708.   P.  de  la  Croix:   Contes  Turcs,  "Histoire  d'un  Tailleur  et  de  sa 

Femme." 
1749.   Antreau:  Le  Galant  Corsaire. 

1753.  Chassaigne:  Le  Calendrier  des  Viellards. 

1754.  La  Motte:  Le  Calendrier  des  Viellards. 

1792.  Sedaine:   Le  Calendrier  des  Vieillards. 

1793.  Dupre:  Le  Calendrier  des  Vieillards. 
1826.   Paul  de  Kock:   Le  Calendrier  des  Viellards. 


BOCCACCIO  AND  HIS  IMITATORS  17 

III.     I 

*i545.  Hans  Sachs:  ^c/^wan^e,  "Ein  stummund  die  nonnen." 

*i557.  Martin  Alontanus:   Wegkurzer,  "Ein  junger  bauernknecht." 

*i536.  Nicolas  de   Troyes:    Parangon,    "D'un  valet   d'une   abbaye   de 

Nonnains." 

*i667.  La  Fontaine:  Co«te5,  "Mazet  de  Lamporecchio." 

1 761.  Anseaume:  Mazet  (comedie). 

♦1375.  Sercambi:  Novelle,  "De  malitia  hominis." 

1500.  Anon.:   El  Bolognese,  ovvero  Masetto  da  Lampolecchio. 

*i8o4.  II  Casti:  Novelle  Galanli,  "L'Ortolano  delle  raonache." 

III.     2 

*i529.  Hans  Sachs:  Schu'dnke,  "Der  ku'nigin  fuesknecht." 

*i82o.  Barry  Cornwall:  Dramatic  Scenes,  "The  Florentine  Party." 

*i666.  La  Fontaine:   Conies,  "Le  Muletier." 

1790.  Dubreuil:  UAmant  Travesti. 

1807.  Gersain:   Les  Pages  du  Due  de  Vendome. 

1823.  Paul  de  Kock:  Le  Midetier. 

1555.  Bandello:  Novelle,  I,  25. 

1637.  Bracciolini:  La  Bulgheria  convertita,  Canto  VIII. 

HI.     3 

♦1548.  Hans  Sachs:  Schwdnke,  "Der  cuplet  miinich." 

*i566.  Martin  Montanus:  Garlengesellschaft,  "Ein  miinch  in  der  Beicht." 

1542.  Bebelius:  Facetiae,  "De  astutia  mulierum." 

♦1850.  Von  der  Hagen:  Gesammlahenteuer,  "Der  Schiiler  zu  Paris." 

*i6o6.  Marston:    The  Parasi taster. 

i6o8.  Shar|)ham:   The  Fleire. 

*i6i6.  Ben  Jonson:   The  Devil  is  an  Ass. 

1663.  Rhodes:  Flora's  Vagaries. 

16^^-  Fane:   Love  in  the  Darke. 

*i68i.  Otway:  Soldier's  Fortune. 

♦1709.  Susannah  Centlivre:   The  Busybody,  Act  HI. 

*i566.  Henri  Estienne:    Apologic   pour   Hcrodolc,    "Une   fenimc   d'Or- 

l(-ans." 

*i588.  Des  Pdriers:    Nouvelles  Recreations  (H.  94),  "Une  fcmmc  d'Or- 

l^ans." 

*  1 66 1 .  Mol  ibre :   /. '  F^cole  des  Maris . 

1661.  Dorimont:   La  fcmtne  Ituiustrieuse. 


l8  BOCCACCIO  AND  HIS  IMITATORS 

*i668.  La  Fontaine:  Contes,  "La  confidante  sans  le  savoir." 

*i6o3.  Lope  de  Vega:  La  discreta  enamorada. 

*i375-  Sercambi:  iVoz'e//e,  "De  malitia  mulieris  adulterae." 

1684.  Sagredo:  V Arcadia  in  Brenta. 

III.     4 
*i378.   Chaucer:  Canterbury  Tales, ''TheMiWer'sTaXQ:' 
*i536.   Nicolas  de  Troyes:    Parangon,  "D'un  bonhomme  qu'on  apelloit 

Pucien." 
*i375-   Sercambi:  Ar<j7;e//e,  "De  prelato  adultero." 

III.     5 

1579.   Forrest  of  Fancy,  "Seigneor  Francisco  Vergelis." 
*i6i6.   Ben  Jonson:   The  Devil  is  an  Ass. 
*i7o9.    Susannah  Centlivre:    The  Busybody,  Act  II. 
*i536.   Nicolas  de  Troyes:    Parangon,  "D'un  valet  qui  donna  un  beau 

cheval." 
*i558.   Bonaventure   des   Periers:    Nouvelles   Recreations,  "De  maistre 

Berthaud." 
*i566.   Henri  Estienne:  Apologie  pour  Her odote. 
*i674.   La  Fontaine:  Contes,  "Le  Magnifique." 

1 731.   Houdart  de  la  Motte:   Le  Magnifiqtie. 
*i773.   Sedaine:  Le  Magnifique. 
1879.   Barbier:  Le  Magnifique. 

1570.    Castelvetro:  Poetica  d'Aristotile,  "Ricciardo  per  la  sua  leggiardia," 
etc. 

III.     6 

*i548.   Hans  Sachs:  Schwdnke,  "Die  piilschaft  im  pad." 

*i536.    Nicolas  de  Troyes:    Parangon,  "D'un  homme  qui  mena  la  femme 

de  son  voisin  aux  estuves." 
*i665.   La  Fontaine:  Contes,  "Richard  Minutolo." 

1705.   Houdart  de  la  Motte:   Richard  Minutolo. 
*i398.    Sacchetti:   Novelle,  CCVI,  "Farinello  da  Rieti." 
*i565.    Giraldi  Cinthio:   Gli  Ecatommithi,  IX,  6,  "Gerardi  ama  la  mogUe 

di  Filebo  Spoletti." 

III.     7 

*i566.    Martin  Montanus:    Thedaldus  und  Ermilina. 

1670.    Grimmelshausen:  Dietwald  u.  Amelinda  {na.raes  only). 
♦1536.   Nicolas  de  Troyes:  Parangon,  "D'un  homme  qui  fut  amoureux." 


BOCCACCIO  AND  HIS  IMITATORS  19 

III.     8 

*i552.   Hans  Sachs:  Schwdnke,  "Der  Bawer  in  fegfewer." 
*i563.   Kirchhof:    WendimmiUh,  "Von  einem  trunckenen  Hollander." 
*i85o.   Von  der  Hagen:   Gesammtabenteuer,  "Der  begrabene  Edelmann." 
*i456.   Antoine  de  la  Sale:  Cent  Nouvelles  Nouvelles,  "D'un  yvroigne  de 

la  Haye."' 
*i536.   Nicolas  de  Troyes:  Parangon,  "D'un  abbe  qui  fut  amoureux." 
*i588.   Des  Periers:  Nouvelles  Recreations. 
*i674.   La  Fontaine:  Contes,  "Feronde  ou  le  Purgatoire." 

1776.    Imbert:   Nouvelles  Historiettes  en  vers. 

1778.   Hardouin:   Almanack  des  Muses,  "Le  Mort  Parlant." 

1608.    Sharpham:   The  Fleire. 
*i64o.   Fletcher:   The  Night  Walker. 
*i375.   Sercambi:  Novelle,  "De  tradimento  fatto  per  monacum." 

1450.   Poggio:  Facetiae.    . 
*i875.   Pitre:  Fiafee  5fa7ia«e,  "Li  tre  cumpari." 

III.     9 

1554.  Anon.  Strassburg:  Zwo  liehlichen  Historien. 

1563.  Pauli:  Schimpf  und  Ernst,  fol.  8. 

*i59i.  lersele  Pieter:  Wisen  Roei  van  Vrowen. 

♦1883.  Lambel:  Erzdhlungen  und  Schwdnke,  "DsizBloch." 

♦1536.  Nicolas  de  Troyes:  Parangon,  "Un  Comte  de  Rossillon." 

1883.  Andreau:  Gillette  de  Narbonne  (pp6ra.). 

*i566.  Painter:  Palace  of  Pleasure,  "Giletta.  oi  NsiThonne."  f^ 

♦1590.  Shakspere:   All's  Well  That  Ends  Well. 

1 513.  Accolti:  La  Virginia  (commedia). 

*i55o.  Straparola:  Notti,  VII,  i,  "Ortodosio  Simonc,  mercante."  <• 

♦1637.  Basile:  Pentamerone,  "Cinliella  e  il  re  di  BcUo  Paese." 

III.     10. 

♦1850.  Von  der  Hagen:  Gesammtabenteuer,  "Die  Tcufelsacht." 

♦1674.  La  Fontaine:  Cow/e5,  "Le  Diablc  en  Enfcr." 

*i536.  Nicolas  dc  Troyes:   /^ara/zj^ow,  "D'un  Hcrmitc." 

♦1375.  Sercambi:  Novelle,  "Dc  Romito." 

♦1398.  Sacchctti:   ATow/Zc,  loi,  "Ciiovanni  c  Ic  trc  rumite." 

♦1476.  Masuccio:   Novellino,  V,  "II  Pajja  a  Roma." 

*i8o4.  II  Casti:  Novelle  Galanti,  "II  Diavolo  ncll'  Inferno." 


/y 


20  BOCCACCIO  AND  HIS  IMITATORS 

IV.     I 

1472.   Albrecht  von  Eyb:  Guiscardo  und  Sigismonda. 
*i47o.   Niklas  von  Wyle;  Translatzion,  "  Von  Guiscardo  und  Sigismunda." 
*i5i5.   Hans  Sachs:  Ein  kleglichen  tragedi  des  Jiirsten  Concreti. 
*i557.   Martin  Montanus:  Guiscardus  und  Sigismunda. 

1563.    Pauli:  Schimpf  und  Ernst,  io\.  45. 

1580.   Anon.,  Frankfort:   Ein  gar  erbdrmliche  History. 
*i776.   BUrger:  Lenardo  und  Blandine. 

1 821.   W.  V.  Schutz:  Gismunda. 

1837.   Imraermann:  Ghismonda. 
*i847.   Simrock:   Volksbiicher,  "Eine  schone  Historic  von  dem  Fursten  zu 
Salerno  schoner  Tochter  Gismonda." 

1532.   William   Walter:    Amorous   Mysterie,    "Guystarde    and    Sygys- 
monda." 
9  1566.   Painter:  Po/ace  <?/P/ea5Mye,  "Tancred  and  Gismonda." 

1568.   Thomas  Howell:  N ewe  Sonets  and  pretie  Pamphlets. 
*i568.    R.  Wilmot:   Tancred  and  Gismond. 

1574.   Henry  Wotton:  Play  lost. 
*i7oo.   Dryden:  Sigismonda  and  Guiscardo. 
*i7i7.    Susannah  Centlivre:  The  Cruel  Gift. 

*i775-   J-  Thomson:   Tancred  and  Sigismunda.      Names  fr.  Bocc;  plot 
from  Gil  Bias  (perh.  Saurin's  Tancred,  1763). 

1 81 3.    F.   Howard:   The  Father's  Revenge. 

1493.   Jean  Fleury:  La  piteuse  et  lamentable  historic  de  Gismond. 

1538.   Ant.  Prevost:   Les  Regrets  d' amours. 
*i536.   Nicolas  de  Troyes:  Parangon,  "De  la  belle  Gismonda." 

1 551.   Habert  d'Yssoudun:   Tr.  from  Beroaldo. 
*i685.    Guevara:   Intercadencias,  "La  desdichada  firmezza." 
*i438.   L.  Aretino:  De  amore  Guiscardi  et  Sigismunda. 

1483.   Accoiti:   Versi,  "Poiche,  I'amato  cor  vide  presente." 

1485.   Benivieni:  Novella  di  Tancredi. 
*i498.   Beroaldo:    Carmen  de  duobus  amantibus,   "Fabula   Tancredi  in 
latinum  versa." 

1508.   Antonio  da  Pistoia:  Filustrato  e  Pamfila. 
*i550.    Parabosco:  /  Diporti,  10,  "Gasparo_e  Briseida." 

1569.   Razzi:  La  Gismonda  {irdigedidi) . 

1583.    Guasco:   La  Ghismonda. 

1588.   Asinari:  //  Tancredi  (tragedia). 
*i597.  Torelli:  II  Tancredi  {Sceltd,  di  C.  L.). 
1614.   Campeggi:   II  Tancredi  (tragedia). 


BOCCACCIO  AND  HIS  IMITATORS  21 

1875.  Bemoni:     Tradizioni   veneziane,    ''Risguardo    belo   e   Rismonda 
bela." 

1627.  Branchi:  II  Guiscardo. 

1750.  Cocchi:  Gismunda  (opera). 

1836.  SafB:   Tancredi,  principe  di  Salerno. 

1876.  Piazzano:  La  Gismonda  di  Sorrento  (opera). 
1743.  Hogarth:  National  Gallery,  "Gismonde." 

IV.     2 

*i546.  Hans  Sachs:  Schwanke,  "Der  Engel  Gabriel." 

*i557.  Martin  Montanus:   Wegkurzer,  "Monch  Albrecht." 

*i563.  Kirchhof:   Wendunmuth,  "Ein  monch." 

♦1598.  A}Ter:   Der  verlarjt  Franciscus  mit  der  venedischen  wirtfrawen. 

1768.  Lowen:  Die  neue  Agnese. 

*i834.  Biilow:  N ovellenhiich ,  "Der  Genius." 

1582.  Whetstone:   Heptameron,  "The  adventure  of  fryer  Inganno."  < 

♦1589.  Greene:  The  Spanish  Masqiierado  (mentioned  only). 

♦1590.  Tarleton's  Newes  out  of  Purgalorie,  "The  tale  of  friar  Onyon." 

*i  456.  Antoine  de  la  Sale :  Cent  Nouvelles  Nouvelles,  "  Le  faiseur  de  pape." 

*i566.  H.  Estienne:   Apologie  pour  Herodote. 

1666.  La  Fontaine:  Contes,  "L'Hermite." 

1 710.  Petit  de  la  Croix:   Contes  Per  sans,  "Malek." 

1730.  Panard:  Le  Sylphe  Suppose. 

1743.  Saint-Foix:  Le  Sylphe. 

1756.  Cointreau:  L'Atnant  Salamandre. 

*i76i.  Marmontel:  Le  Mari  Sylphe. 

1765.  Favart:    Les  Sylphes  Supposes. 

1783.  Qudtant:  L'Amant  Sylphe. 

1856.  St.  George:  Le  Sylphe  (op6rz.). 

♦1470.  Masuccio:  Novellino,  I,  2,  "II  quinto  e\!inp,c\hta." 

♦1550.  Parabosco:  /  Diporti,  111,  "Un  fratc  s'innamura  d'uiui  donna." 

1553.  Doni:  Novelle,  7. 
1585.  Malcspini:  Novelle. 

1554.  Bandcllo:  Novelle,  II,  2.  •^ 
♦1804.    II  Casti:   Novelle,  "  L'arcangclo  Gabricllo." 

IV.    3 

♦1548.    Hans  Sachs:   Schwdnke,  "Die  drey  j)iilctni  Schwcstcm." 

♦1536.    Nicolas  de  Troyes:   Parangon,  "  Trois  jouveiuc-aux  de  Marseille." 


22  BOCCACCIO  AND  HIS  IMITATORS 

IV.     4 

*i5i6.    Hans  Sachs:   Historia,  "Constancia  und  Gerbino." 
ar  *i576.    Turberville:     Tragical    Tales,    "The    king    of    Thunise   had   a 

daughter  faire." 
*i755.   Lami:   Novelle  letterarie  di  Firenze,  "  La  Novella  di  Cerbino." 

IV.     5 

*i5i5.  Hans  Sachs:  /fw/ma,  "Derermort  Lorenz." 

*i557.  ^lartin  Montanus:  Wegkurzer,  "Jungfrau  Lisabeta." 

jO(^         *i576.  Turberville:    Tragical  Tales,  "A  merchant's  daughter  loved  her 
brother's  boy." 

*i8i9.  Keats:  "Isabella,  or  the  Pot  of  Basil." 

*i82o.  Barry  Cornwall:    The  Sicilian  Story. 

*i849.  J^Iillais:  Liverpool  Gallery,  "Isabella." 

*i868.  Holman  Hunt:  Walker  Art  Gallery,  "Isabella." 

IV.     6 

*i556.   Hans  Sachs:   Historia,  "Andreola  mit  Gabrioto." 

*i56o.   Wickram:   Gahriotto  u.  Reinhard. 

*i536.   Nicolas  de  Troyes:  Parangon,  "D'une  jeune  fille  amoureuse  d'un 

jeune  compaignon." 
*i565.   Giraldi  Cinthio:   Ecatommithi,  V,  6,  "Graziosa  e  il  podesta." 

IV.     7 

*i54o.   Hans  Sachs:    Historia,  "Wie  zwei  liebhabende   von   einen   Sal- 
venstock  sturben." 
^         *i576.   Turberville:    Tragical  Tales,  "Symone  likt  of  Pasquine  passing 
well." 
*i84o,   Alfred  de  Musset:  Simone. 

IV.     8 

*i544.   Hans  Sachs:   Historia,  "Wie  zwei  liebhabende  menschen  vor  lieb 

starben." 
*i557.   Martin    Montanus:    Wegkurzer,    "Hieronimus    hatte    lieb    eine 

jungfrau."j 
*i563.    Kirchhof:  Wendunmuth,  "Einer  edelichen  person.'' 
*i85o.   Von  der  Hagen:   Gesammtabenteurer ,  "Frauentreue." 
^        *i576.   Turberville:   Tragical  Tales,  "A  merchant's  sonne  that  Girolamus 
bight." 
1579.   Forrest  of  Fancy. 


BOCCACCIO  AXD  HIS  IMITATORS  23 

*i8i9.   Barry  Cornwall:  Dramatic  Scenes  and  Other  Poems,  "The  Broken 

Heart." 
*i536.   Nicolas  de  Troyes :  Parangon,   "D'un  jeune  tils  qui  mourut." 
^  *i558.   Marguerite  de  Navarre :  Heptameron,  " " La  mort  de  deux  parfaits 
amants." 
*i839.   Alfred  de  Musset:  Silvia. 
*i635.    Tirso  de  Molina:  Los  arnantes  de  Tertiel. 
&      1554-   BandeUo:  Novelle,  I,  20. 

♦1550.   Straparola:  Notti,  IX,  2,  "Rodolino  ama  Violante." 

IV.    9 

*i85o.   Von  der  Hagen:   Gesammtabentetier,  "Das  Herz." 

*i872.   Lambel:  £rzc/i/Mw^e«,  "Das  Herzemaere." 
.&      *i576.   Turberville:    Tragical  Tales,  "In  Provence  were  two  knights." 

*i7o7.   English  Chaphook,  "The  Constant  but  Unhappy  Lovers."    (Clous- 
ton:  Pop.  Tales.) 

*i536.   Nicolas  de  Troyes:   Parangon,  "De  deux  chevaliers." 

*i566.   H.  Estienne:  Apologie,  "Un  mari  fit  manger  a  sa  femme  le  coeur 
d'un  gentilhomme." 

*r375.   Sercambi:  Novelle,  "De  prava  araicitia  vel  societate." 

IV.     10 

♦1546.    Hans  Sachs:  Schwdnke,  "Der  juengling  in  Kasten." 

♦1557.   Martin   Montanus:     Gartengesellschaft,  "Ein   jungling   in    eincm 

Kasten." 
♦1456.   Antoine  de  la  Sale :  Cent  Nouvelles  Nouvelles,  "  Le  cure  amoureux." 
*i536.   Reyes:  El  Menandro. 

♦1550.   Parabosco:  /  Diporti,  4,  "Un  giovane  h  nascoso  in  un  forziere." 
*i565.    Giraldi  Cinthio:  Gli  Ecatommithi,  III,  3,  "Bice  fa  eiitrarc  il  giudicc 

in  un  cofano." 


1 5 1 6.  Griininger :  Historia  von  eines  reyclien  burgers  son. 

*i546.  Hans  Sachs:   Historia,  "Der  cdcl  jung  Cimon." 

*i557.  Martin  Montanus:  Historia,  "Cymon  und  Iphigenia." 

1616.  W.  Waldung:  Cymon  Galesus. 

1370.  Anon.:   Trans,  in  English  verse. 

♦1856.  P.  Heysc:  Die  Brant  von  Cypcrn. 

/^  *i584.  Greene:    The  Tritameron  of  Love,  "Chymon,  more  wealthie  than 
wittie." 


24  BOCCACCIO  AND  HIS  IMITATORS 

*i675.  T.  C.  (Gent.):  A  pleasant  and  delightful  history  oj  Galesus  Cymon. 

*i7oo.  Dryden:  Cytnon  and  Iphigenia. 

*i767.  Cymon  (played  by  Garrick). 

*i847.  Millais:  "Cymon  and  Iphigenia." 

*i884.  Sir  Frederick  Leighton :   "Cymon  and  Iphigenia." 

*X499.  Beroaldo:  Mythica  historia  Joannis  Boccaccii. 

1584.  Ingegneri:  La  Danza  di  Venere. 

1792.  Camillo  Cajafa:  Cimone  (epic  poem). 

V.     2 
yy        *i588.   Greene:  Perimides,  The  Blacksmith,  "Costanza,  and  Alcimedes." 

V.     3 

*i543.   Hans  Sachs:  Petrus  floch  mil  seiner  lieben. 

*i536.   Nicolas  de  Troyes:   Parangon,  "De  la  grande  infortune  de  deux 

amoureux." 
*i877.   Imbriani:  Novellaja  fiorentina,  "II  figliolo  del  re  di  Portogallo." 

V.     4 

*i85o.  Von  der  Hagen:  Gesammtahenteuer ,  "Die  Nachtigall." 

*i536.  Nicolas  de  Troyes:  Parangon,  "De  la  fille  d'un  chevalier." 

*i666.  La  Fontaine:  Contes,  "Le  Rossignol." 

1743.  Vergier:   Contes  et  Nouvelles,  "Le  Rossignol." 

*i62i.  Lope  de  Vega:  El  ruysenor  de  Sevilla. 

*i566.  Sansovino:  Cento  Novelle  Scelte,  "Ricciardo  Manardi." 

1755.  Lami:   Novelle  letterarie  di  Firenze,  "La  Lusignacca." 

*i78i.  Gamerra:  La  Corweiie,  Canto  XXVI. 

*i8o4.  II  Casti:  Novelle,  "II  Rossignuolo." 

*i82o.   Barry  Cornwall:   Dramatic  Scenes,  "The  Florentine  Party." 
♦1779.   Lessing:  Nathan  der  Weise  (with  I,  3,  and  X,  3). 

V.     6 

*i536.   Nicolas  de  Troyes:    Parangon,  "De  deux  amans  qui  furent  at- 
taches." 
♦1556.    Sansovino:  Cento  Novelle  Scelte,  "  Gian  di  Procida." 
*i575-   Tasso:  Gerusalemme  Liberata, '^ Olmdo  djid  ?)oiron\diy 


BOCCACCIO  AND  HIS  IMITATORS  25 

V.     7 

*i545.   Hans  Sachs:   Commedia,  "Die  Violanta  eines  ritters  tochter." 
1579.   Forrest  of  Fancy,    "Theodore  enamoured   of  Maister   Emeries 
daughter." 
*i6o8.   Beaumont  and  Fletcher:   Triumph  of  Love. 

*i536.   Nicolas  de  Troyes:   Parangon,  "Du  danger  en  quoy  furent  deux 
amoureux." 

V.     8 

*i522.   Pauli:  Schimpf  und  Ernst,  "Der  Koler  sach  ein  frauen  und  einen 

Ritter." 
*i54o.   Hans  Sachs:    Historia,  "Wie  der  jung  edelman  Anastasius  ein 

jungfrau  erworb." 
1569.    Christopher  Tye:  A  notable  Historie  of  Nastagio  and  Traversari. 
♦1576.   Turberville:     Tragical   Tales,   "In   Italic   there   is   a   citie   hight     i 

Ravenna." 
1579.   Forrest  of  Fancy  (mentioned),  "I  might  bring  in  Nastagio  if  I 

would." 
♦1633.   Shirley:  A  Contention  for  Honour  and  Riches. { ? ) 
*i659.   Shirley:  Honoria  and  Mammon. (?) 
*i7oo.   Dryden:   Theodore  and  Honoria. 
*i8i9.   Byron:  Don  Juan,  III,  105,  106. 
*i536.   Nicolas  de  Troyes:   Parangon,  "D'une  vision  qui  apparent  a  un 

amoureux." 
*i487.   Correggio  (or  Alunno):  four  panels  relating  the  talc  of  Nastagio 

{Burlington  Mag.,  1903). 
1820.    Strocchi:  //  Cavaliere. 
1839.   Paolo   Costa:     Opere,    "La   Donna   di    Guido   dcgli    Anastagc" 

(poem) . 
*i875.    Giacosa:    Trionjo  d'Amore  (secolo  XIV)  (not  an  imitation  i)n)l)- 

ably). 

V.     9 

♦1543.  Hans  Sachs:  Der  Edelfilk. 

1738.  Hagedom:   Fabcln  u.  Erzdhlungcn,  "Der  I'aikc."' 

1776.  Anon.,  ein  Lusts[)iel— Nationaltheater,  Wicn:     Ihr  luilkc. 

♦1776.  Goethe:   Brief  an  Frau  von  Stein,  Der  Falkc  (minlioiied). 

♦1819.  Barry    Cornwall:       Dramatic    S<rws    and    Other    I'ocms,    "Tlie 
Falcon." 

♦1863.  LongfelKjw:    Talcs  of  a  Wayside  Inn,  "Stii.Unl's   Talc." 


26 


BOCCACCIO  AND  HIS  IMITATORS 


*i879. 

*i887. 
*i67i. 

1700. 

1718. 

1719. 

1719. 

1725- 
1772. 

1772. 

1793- 
1863. 

*l620. 

*i566. 
1564. 


Tennyson:    The  Falcon  (St.  James  Theater,  London). 

Wm.  Black:  Sabina  Zembra,  "Ser  Federigo's  Falcon." 

La  Fontaine:  C antes,  "Le  Faucon." 

Jean  Palaprat :  Le  Faucon  (never  played  or  printed) . 

Dauvilliers:   Le  Faucon,  ou  la  Constance  (comedy). 

Louis  Fuzelier:  Le  Faucon  (comedy). 

Mile  Barbier:  Le  Faucon  (comedy). 

Drevetiere :  Le  Faucon  et  les  Oyes  de  Boccace. 

Sedaine:   Le  Faucon  (comic  opera). 

De  Theis:  Le  Singe  de  La  Fontanie,  "Frederic  et  Clitie." 

J.  B.  Radet:  Le  Faucon. 

J.  Barbier:  La  Colombe  (comic  opera). 

Lope  de  Vega:  El  Halcon  de  Federico. 

Sansovino:  Cento  Novelle  Scelte,  "Federigo  degli  Alberichi." 

Brugiantino:  Cento  Novelle  in  rima. 

V.     10 


*i546.   Hans  Sachs:  Schwdnke,  "Die  mullerin  und  ferberin." 

*i557.   Martin  Montanus:   Gartengesellschqft,  "Eine  frau  der  andern  fiir 

ubel  hielt." 
*i52o.   Morlini:  Novelle,  XXX. 

VI.     I 

*i548.   Hans  Sachs:  "Der  unperet  riter  mit  Oreta." 

*i375.   Sercambi:  Novelle,  "De  moctu  placibili." 

*i566.   Sansovino:  Cento  Novelle  Scelte,  "Monna  Horetta." 

VI.     2 

*i566.   Sansovino:  Cento  Novelle  Scelte,  "Asti  fornaio  con  una  parola." 


'1536 


'1375 
1570 


VI.     3 

Nicolas  de   Troyes:    Parangon,   "D'une  jouvencelle   qui  reprit 

I'evesque." 

Sercambi:   Novelle,  "De  pulcra  responsione." 

Castelvetro:  Poetica  d'Aristotile,  II. 


/. 


VI.     4 

*i522.   Pauli:  Schimpf  und  Ernst,  "Ein  fasant  soil  nur  ein  bein  haben," 
♦1540.   Hans  Sachs:   Schwdnke,  "  Der  Koch  mit  dem  Kranich." 


BOCCACCIO  AND  HIS  I^nXATORS  27 

*i557.  Martin   Montanus:     Gartengesellschaft,    "Ein   koch    stillt    seines 
herren  zom." 

1656.  Gerlach:  EntrapeUae. 

1660.  Hermotimius:  De  grids  pedibus. 

1677.  Horl:  Bachusia. 

1665.  Lange:  Deliciae  Academicae. 

1 691.  Biderman:   Utopia. 

1767.  Vademecumfiir  lustige  leiite. 

1862.  Bechstein:  Mdrchen,  "  Der  Leherle's  Schiwab." 

1898.  Zocher:  Schanes  grimes  Alpenland,  "Die  pfiffige  Kochin." 

*i590.  Tarleton's  Newes  out  of  Purgatorie,  "The  Tale  of  the  Cooke." 

*i896.  Hopkinson  Smith:     Colonel  Carter  of  Cartersville,   "The   One- 
legged  Goose." 

1681.  D'Ouville:    La  fleur  de  toutes  Nouvelles. 

*i566.  Timoneda:    Alivio,    "Porque   sedijo,    se   dijera   ojte,   sacara   su 

piema." 

*i574.  Santa  Cruz:   Floresta  espanola. 

1879.  Coelho:  Contos  populares  portuguezes. 

*i562.  Sansovino:  Cento  Novelle  Scelte," C\\\ch\h\o  cwoco.^^ 

1684.  Sagredo:  Arcadia  in  Brenta. 

VI.     5 

♦1548.   Hans  Sachs:  Schwdnke,  "Die  zwcn  ungcrschaflen  Rcuter." 

VI.     6 

1570.    Castelvetro:  Poetica  d'Aristotile. 

VI.     7 

♦1557.   Martin    Montanus:     Gartengesellschaft,    "Kin    wiri    niniini    i-inc 

jungfrau." 
1 541.    Percgrinus:     Convivialiiim   Scrmonum   liber,    "Dcr   scnis  juvciic 

uxore." 
♦1536.    Nicolas  do  Troyes:   Parangnn,  "  D'un  hommc  qui  avail  accuse  sa 

femme." 

VI.     8 

VI.     9 

♦1562.    Sansovino:  Cento  Novellc  Sccllc,  "(iuido  Cavaicanti." 


28  BOCCACCIO  AND  HIS  IMITATORS 

VI.  lo 

1538.   Bebelius:  Facetiae,  "De  stationario." 
*i540.   Hans  Sachs:   "Der  Munnich  zwieffel  mit  seim  heylthumb." 
*i557.   Martin    Montanus:      Gartengesellschafi,  "Ein    stationierer    zeigt 
kohlen  fur  heiltum." 

1563.    Kirchhof:   Wendunmuth,  "Reliquiae  mit  Kohle  verweckselt." 

1568.   Hulsbusch:  Sylva  sermonmn,  "Hierophanta  ostendit  foenum  pro 
reliquiis." 

1566.   Luther:   Tischreden,  3,  256,  ed  Forsteman. 

1656.    Gerlach:  Eutrapeliae. 

1665.   Lange:  Deliciae  Academicae. 

1884.   Baumbach:  Abenteuer  und  Schwanke,  "Die  gestohlene  Feder." 
*i59o.    Tarleton's  Newes  out  of  Purgatorie,  "The  Vickar  of  Bergamo." 
*i589.    Greene:   The  Spanish  Masquerado  (mentioned  only). 
*i535.   Nicolas    de    Troyes:      Parangon,    "D'un    moine    nomme    frere 

Ciboulle." 
*i566.   H.  Estienne:  Apologie,  "Un  religieux  nomme  frere  Oignon." 
*i550.   Parabosco:  Diporti,  3  (end),  "II  morto  Lazaro." 

VII.     I 

*i54o.   Hans  Sachs:  "Der  Farber  von  Florenz." 

*i590.   Cobler  of  Caunterburie,  "Old  Wives'  Tale." 

*i55o.   Straparola:  Notti,  V,  9,  "La  Thia  fa  scongiuro  al  marito." 

VII.     2 

1541.    Gast:  Convivialium  Sennonum,  "De  a.du\teY^." 
*i557.   Martin   Montanus:    Gartengesellschafi,    "Eine   frau   verbarg  ins 
olfass." 
1609.    Sommer:  Emplastrum  Cornelianum,  "Eine  fraw  in  ein  fass  ver- 
steckte." 
*i566.   Estienne:    Apologie,  "Une  femme  qui  fit  entrer  son  ami  en  un 
tonneau." 
1623.   Les  Delices  de  Verboquet. 
1674.   La  Fontaine:  Co«te5,  "Le  Cuvier." 
1 761.   Audinot:  Le  Tonnelier  (opera). 
*i52o.    Morlini:  A/'oreZ/ae,  "De  viro  in  dolio." 

VII.  3 

♦1557.    Martin  Montanus:    Wegkurzer,  "Monch  Rinaldus." 
1608.    Mahrold:   Rollmarschkasten. 


BOCCACCIO  AND  HIS  IMITATORS  29 

*i536.   Nicolas  de  Troyes:    Parangon,  "D'un  Jacobin  et  sa  commere." 
*i566.   Estienne:    Apologie  pour  Herodote,   "Une  Siennoise   etant  avec 
frere  Regnard." 


VII.     4 

*i522.   Pauli:  Schimpf  nnd  Ernst,  "Eine  fraw  ward  bewert  frum." 
*i546.   Hans  Sachs:  Schwanke,  "Das  Weib  in  Brunnen." 
*i557.   Martin  Montanus:    Gartengesellschaft,  "Wie  einer  sein  wcib  fur 
die  hausthiirversperrt." 
1805.   Zschokke:   Peter  Rotbart  (imitated  from  Moliere). 
*i6o3.    Westward  for  Smelts,  "The  Fishwife  of  Richmond's  Tale." 
*i566.   Estienne:     Apologie,    "Une   Parisienne   fait   demeurer   son   mari 

en  la  rue." 
*i668.   Moliere:    George  Daudin. 
*i4oo.   Libro    de    los   enxemplos,    "  Mulierum    malitiam    nemo    idiscere" 

potest." 
*i375.   Sercambi:  Novelle,  "De  geloso  e  muliere  malitiosa." 

1483.   Arienti:  Le  Porretane,  "Uno  contadino  lassa  la  moglie  fori  di  casa." 
*i486.   Bibiena:    La  Calandria. 
*i566.   Sansovino:    Cento  Novelle  Scelte,  "Toiano  chiude  fuor  di  casa  la 

moglie." 
*i57-.   Tasso:  Intrighi  d' Amore,  IV ,  ^. 
1687.   Casalicchio:   L'Utile  col  dolce,  89. 
1865.   Passa-tempo  dei  curiosi. 

VII.     5 

♦1543.  Hans  Sachs:   Schwanke,  "Der  eyferer  hort  peichl." 

1563.  Pauli:   Schimpf  und  Ernst,  U)\.  jg. 

♦1557.  Montanus:    Gartengesellschaft,  "Zu  hcii  ht   luirt  einer  .scin  wcib." 

♦1563.  Kirchhof:   WendunmiUli,  "Die  frau  beichtet  dcm  manm-." 

1790.  Ramlers  Fabellese,  "Der  falsche  beichtvattr." 

1576.  Tho.  Twyne:    The  Schoolmaster. 

♦1456.  Antoine  de  la  Sale:    Cent  Nouvclles  Noiivcllcs,  "Lc  mari  Con- 

fesseur." 

*i666.  La  Fontaine:   Con/e^,  "Lc  mari  Confcsscur." 

1731.  D'Allainvil:   Le  mari  curicux. 

1878.  D'llcrvilly:    Im  Fontaine  des  BcniMnuid  {<nm{-d\i'). 

1554.  Bandello:  A^'oW/g,  "Un  geloso  ode  la  confessione  della  moglie." 

iS8o.  Malespini:   Novelle,  92,  "Ritornato  uno  di  viaggio." 


30 


BOCCACCIO  AND  HIS  IMITATORS 


/ 


1459- 
1545- 

*i545. 

*i563. 

1738. 

1742. 

*i85o. 

*i549- 
*i590. 

1607. 

1611. 
*i6io. 

1678. 
*i456. 

*i566. 

1614. 

1681. 

*i698. 

1837- 

1483. 
*i550- 

1555- 
*i566. 

1580. 


1450 

1450 

1450 

1542 

1548 

*i553 

*i559 

*i792 

1826 


VII.  6 

Poggio:    Facetiae,  "Muliebris  vafrities." 

Gast:    Sermones  Conviviales. 

Hans  Sachs:   Schwdnke,  "Die  listig  Bulerin." 

Kirchhof:   Wendunmuth,  "Einen  einaugigen  ritter  betreugt  seine 

hausfraw." 

Hagedorn :  Ver stick  in  poetischen  Fabeln  und  Erzdhlungen. 

Van  Eflfen:   (Eiivres  diverses,  "Von  einer  geschwinden  Schalkin." 

Von  dor  Hagen:   Gesammtabenteuer,  "Der  Ritter  und  die  Niisse." 

Mery  Tales,  "Of  the  inholder's  wyfe  and  her  two  lovers." 

Tarleion's  Newes,  "The  Gentlewoman  of  Lyons." 

Sharpham:   Cupid's  Whirligig. 

Turneur:    The  Atheist's  Tragedy. 

Beaumont  and  Fletcher:  Women  Pleased,  II,  6. 

Ravenscroft:    The  London  Cuckolds. 

Antoine  de  la  Sale:  Cent  Nouvelles  Nouvelles,  "Une  dame  et  ses 

deux  compaignons." 

Estienne:    Apologie,  "Une  femme  florentine  ayant  deux  amants 

en  sa  maison." 

Bouchet:  Screes. 

D'Ouville:    Elite  des  Conies. 

Dancourt:  La  Parisienne. 

La  Farce  du  Poulier  a  quatre  personnages. 

Arienti:   Le  Porretane,  "La  moglie  di  marchesino  Ottobuoni." 

Parabosco:    /  Diporti,  16,  "Oderico  fa  uscir  di  casa  il  marito." 

Bandello:  Novelle,  "Una  donna  si  trova  aver  tre  innamorati." 

Sansovino:  Cento  Novelle  Scelte,  "Madonna  Isabella  con  Lionetto." 

Malespini:  Novelle. 

VII.     7 
Anon. :   Von  dem  Schreyher. 
Anon.:    Der  Schreiher  im  Garten. 
Rosenblut:   Der  Mann  im  Garten. 
Gast:    Sermoius  Conviviales. 

Burkhard  Waldis:  Esopus,  "  Vom  alten  mann  und  seinem  weibt. 
Hans  Sachs:   Meisterlied,  "Von  einem  ungetreuen  knecht." 
Martin  Montanus:   Spiel  vom  untreuen  Knecht. 
Langbein:    Schwdnke,   "Der  Kammerdiener." 
Falk:  Satyrische  Werke,  "Frau  in  der  maske  der  zofe  vom  manne 
geprugelt." 


BOCCACCIO  AND  HIS  IMITATORS  31 

*i526.  C  Mery  Tales,  "Of  the  wyfe  and  her  prentys." 

*i56o.  Sackful  of  Newes,  "There  was  an  old  man  that  could  not  well  see." 

*i59o.  Cobler  of  Caiinterburie. 

*i66i.  Davenport:    The  City  Nightcap. 

1675.  Fane:  Love  in  the  Darke. 

1682.  Ravenscroft:   Loiidon  Cuckolds. 

1815.  Singer:    Shaks per e's  Jest  Book. 

*i456.  Antoine  de  la  Sale:    Cent  Nouvelles  Nouvelles,  "La  bonrgeoise 

d'Orleans." 

*i536.  Nicolas  de  Troyes:   Parangon,  "Comment  une  femme  fit  aller  son 
mari  en  un  jardin." 

1644.  D'Ouville:   Elite  des  Contes,  "Ainsi  il  fut  cocu,  battu  et  content." 

1665.  Contes  a  rire. 

*i666.  La  Fontaine:  Cow/e5,  "Le  cocu,  battu  et  content." 

1670.  Roger  Bontems  en  Belle  Hiimeur. 

♦1695.  Dancourt:    Le  Tuteur. 

1738.  Wiege:  Le  Mari,  cocu,  battu  et  content  (comedie). 

1883.  Kryptadia,  "La  femme  de  marchand  et  le  commis." 

*i566.  Timoneda:   Alivio,  "Avia  un  aldeano  mujer  hermosa." 

*i6oo.  Romancero  General,  "Novela  in  redondillas." 

*i68o.  Andres  Gil:   Entr ernes  del  Amiga  Verdadero. 

*i378.  Ser  Giovanni:   Pecorone,  "Ceccolo  di  Perugia." 

1459.  Poggio:    Facetiae,  "De  muliere  quae  virum  defraudavit." 

1555.  Bandello:    Novelle,  I,  5. 

*iS66.  Sansovino:  Cento  Novelle  Scelte,  "Ludovico  discuopra  a  Madonna 
Beatrice." 

1580.  Malespini:   Ducento  Novelle,  61. 

*i78i.  Gamerra:   La  Corneide,  Canto  XVIII. 

VII.    8 

♦1556.  Hans  Sachs:  Schwdnke,  "Der  Bawcr  mit  dem  Zopf." 

♦1598.  Ayrer:   Fastnachtspiel,  "Der  ubcrwundcn  Eyffcrer." 

♦1850.  Von  der  Hagen:    Gesammtabenteucr,  "Der  vertreute  Wirlh." 

♦1883.  Lambel:    Erzdhlum^en,  "Der  verkerte  Wirt." 

♦1540.  Andrew  Borde:  Mad  Men  of  Gotham,  "Twelfth  Talc." 

♦1590.  Cobler  of  Caunterburie,  "Old  Wives'  Tale." 

♦1603.  Westward  for  Smelts,  "The  Fishwife  of  Brainford." 

♦1633.  Ma.ssinger:    Guardian,  IV. 

♦1456.  Antoine  de  la  Sale:    Cent  Nouvelles  Nouvelles,  "Le  bourgeois  de 
Tours." 


32  BOCCACCIO  AND  HIS  IMITATORS 

*i536.   Nicolas  de  Troyes:  Parangon,  "D'une  femme  que  son  mari  avait 
trouvee." 

1630.   Les  Delices  de  Verboquet  le  Genereiix. 
*i666.   La  Fontaine:  Conies,  "La  Gageure  des  trois  Commeres." 
*i566.   Timoneda:   Patranuelo,  "A  marquina  las  narices  cortaron." 
*i548.   Firenzuola:    Discorsi   degli   animali,  "La    sventurata    col    naso 
mozzo." 

1552.   Doni:    Filosofia  morale. 
*i566.   Sansovino:  Cento  Novelle  Scelte,  "Undiviene  geloso  della  moglie." 

1580.   Malespini:   Novelle,  II,  40. 

1625.   Campeggi:  Novelle  due. 

VII.     9 

*i78o.  Wieland:    Oberon,  "Sechtesgesang." 

*i396.  Chaucer:  Canterbury  Tales,  "Merchant's  Tale." 

*i64i.  Marmion  Shackerley:   The  Antiquary. 

*i720.  Pope:   Poetical  Works,  "January  and  May." 

1644.  D'Ouville:  Elite  des  Contes. 

*i666.  La  Fontaine:    Contes,  "La  Gageure  des  trois  Commeres." 

1723.  LeSage:  Les  Trois  Commhres. 

*  1 7  5  2 .  Vade :    Le  P  airier. 

1833.  Desmares:   Gageure  des  Trois  Commhes. 

VII.  10 

*i536.   Nicolas  de  Troyes:    Parangon,  "D'un  compagnon  qui  promist 
revenir." 

VIII.  I 

1538.  Bebelius:  Facetiae,  "Factum  cujusdem  Francigena." 

*i55i.  Hans  Sachs:   Schwdnke,  "Die  petrogen  puelerin." 

1 71 9.  Frederici:  Der  undankbare  franzoss. 

*i387.  Chaucer:   Canterbury  Tales,  "The  Shipman's  Story." 

*i456.  Antoine  de  la  Sale:  Cent  Nouvelles  Nouvelles,  18. 

♦1536.  Nicolas  de  Troyes:   Parangon,  "Une  dame  vouloit  200  florins." 

*i666.  La  Fontaine:  Contes,  "La  Femme  avec  Galant  Escroc." 

1753,  CoUe:   Le  Galant  Escroc. 

1773.  De  Theis:  Le  Singe  de  La  Fontaine,  "La  double  attente." 

1787.  Contes  d  rire. 

1 781.  Imbert:  Nouvelles  Historiettes,''^'L&  Tadirc\\6  rovcv^w.J'^  > 

1450.  Poggio:    Facetiae,  "Anser  venalis." 


BOCCACCIO  AND  HIS  IMITATORS  33 

VIII.     2 

*i539.   H.  Vogel:  Das  schon  goUschmidtsweih. 

*i545.   Hans  Sachs:  Der  pfarrer  mit  sein  korock. 

*i557.   Martin   Montanus:    Gartengesellschaft,    "Ein  pfaff  giebt   seinen 

chorrock  zum  pfand." 
*i558.   Lindener:   i^a^^fiwc/z/em,  "Der  pfaflf  und  frau  Belcora." 
*i563.    Kirchhof:    Wendummith,  "Ein  studiosus  verbult  sein  rock." 
*i593.   Watt:   Der  Student  mit  dem  morser. 

1670.   Sommerklee  und  wintergriin,  333. 
*i536.   Nicolas  de   Troyes:    Parangon,  "Un    gentilhomme   donna    pour 
cinquante  escus  de  velours." 

VIII.    3 

*i563.   Hans  Sachs:   "Die  Schwarzen  unsichtigen  edlen  stein." 
*i566.   Sansovino:    Cento     Novelle     Scelte,     "Colandrino    cercando    la 
Elitropia." 

VIII.    4 

♦1545.   Hans  Sachs:  Schwdnke,  "Der  thum  probst." 

1582.   Whetstone:  i2"e/»/awero«,  "The  Priest  of  Fiesole." 
*i456.   Antoine  de  la  Sale:  Cent  Nouvelles  Nouvelles,  "Un  chevalier  de 

Bourgogne." 
*i536.   Nicolas  de  Troyes:    Parangon,  "D'un  prestre  qui  cuidoit  estre 
avec  une  femme." 

1 584.   Bouchet :    Serees. 

1659.    Facet:  Reveille-matin. 

161 1.   Puenta:   Jardin  de  Amadores. 

1554.   Bandello:    Novelle,  II,  47. 
♦1566.   Sansovino:  Cento  Novelle  Scelte,  "II  Proposto  di  Fiesole." 

1580.   Malespini:  Novelle. 

VIII.     5 

VIII.     6 

1522.    Pauli:  Schimpf  und  Krnsl,  ii)\.  ^4. 
♦1546.   Hans  Sachs:  Schwdnke,  "  Der  ])achen  dich." 

1450.    Poggio:  Facetiae. 
♦1566.   Sansovino:   Cento  Novelle  Scelte,  "Bruncj  c  BufTalmacco  imbolano 
un  f)orco  a  Calandrino." 


34  BOCCACCIO  AND  HIS  IMITATORS 

VIII.     7 

*i545.   Hans  Sachs:    "Der  Student  im  Schnee." 
fi^       *i566.   Painter:  Pa/ocs  o/P/m^Mre,  "Helena  of  Florence." 
*i633.   Massinger:   The  Guardian. 
*i536.   Nicolas  de  Troyes:    Parangon,  "D'une  femme  qui  trompa  un 

escolier." 
*i7o7.   LeSage:   Le  Viable  Boiteux,  "Patrice  et  Lusita." 

VIII.     8 

1450.  Rosenblut:  "Die  wiedervergeltung." 

♦1557.  Martin  Montanus:   Gartengesellschaft,  "Zween  gesellen." 

*i558.  Lindener:   Rastbiichlein,  "Zwen  giitt  gesellen." 

1608.  Mahrold:  Rollmarschkasten. 

1691.  Der  kurzweilige  Arlequin,  "Der  gestraffte  buhler." 

*i79i.  Langbein:  Schwdnke,  "StiWeKsiche." 

♦1850.  Von   der   Hagen:     Gesammtahenteuer ,    "Die    drei   muniche    von 
Colmar." 

1635.  John  Jones:  Adrasla. 

*i536.  Nicolas  de  Troyes:  Paraw^o^z,  "De  deux  voisins." 

*i558.  Bonaventure  des  Periers:    Nouvelles  Recreations,  "De  celui  qui 

acheva  I'oreille." 

*i566.  Estienne:   Apologie,  "Un  cousturier  de  Florence." 

1584.  Bouchet:  Series. 

*i666.  La  Fontaine:  Co«fe5,  "Le  faiseur  d'oreilles." 

1 710.  Petit  de  la  CroLx:  Contes  Persans,  "Histoire  d'Aronga." 

1808.  Guichard:  Cow/e5  e^  FaWe5,  "La  revanche." 

1883.  Kryptadia,  "Jean  Matelot." 

*i476.  Masuccio:  Novellino,  36,  "Dui  cari  compagni." 

*i55o.  Parabosco:  /  Diporti,  V,  "Valerio  e  Teodoro." 

*i55o.  Straparola:   Notti,  VI,  i,  "Si  amano  insieme  duo  compari." 

VIII.     9 

♦1545.   Hans  Sachs:   "Der  doctor  im  Venusperg." 
♦1598.   Ayrer:  Einfastnachtspiel  von  Meister  Simon. 
1570.    Castelvetro:    Poetica  d'Aristotile,  "Bruno  comminicia  a  mostrare." 

VIIL     10 

♦1550.   Hans  Sachs:  Fastnachtspiel,  "Nicola,  der  ksiuSmon.^^ 
*i6i7.   Lope  de  Vega:  El  anzuelo  de  Fenisa. 


BOCCACCIO  AND  HIS  IMITATORS  35 

IX.     I 

*i522.  Pauli:   Schimpfiind  Ernst,  "Vm  dreiWerheT." 

*i54o.  Hans  Sachs:   Fastmchtspiel,  "Die  jung  erber  witfraw  Francisca." 

1563.  Scherz  mit  der  Warheyt. 

1568.  Hulsbach:  Sylva  Sermonum. 

1687.  Schauplatz:  Der  Betriger. 

1767.  Vadefnecumfiir  lustige  Leute. 

1853.  Prohle:  Kinder  utid  Volkstndrchen. 

1888.  Ueber  Land  und  Meer,  "Die  Freier  des  Witwes." 

1450.  Lydgate:   The  Lady  Prioress  and  Her  Three  Lovers  (ballad). 

*i536.  Nicolas  de  Troyes:    Parang&n,  "De  deux  amans  qui  aymoint  une 
veufve." 

1 881.  Sebillot:  Litter atur e  orale  de  la  Haute  Br etagne. 

1883.  Ortoli:  Contes  populaires  de  Tile  de  Corse. 

1 891.  Pineau:  Contes  populaires  du  Poitou. 

IX.     2 

♦1508.    Gallus:   Mewsa />/n7o5o/'/«ca,  "Die  begine  mit  der  hose." 
*i546.   Hans  Sachs:  Meisterlied,  "Die  Epthesin  mit  der  pruech." 

1548.   Burkhard  Waldis:  Esopus,  "Von  einer  armen  Nonnen." 
♦1557.   Martin  Montanus:  Gartengesellschaft,  "Eine  abtissen  hat  eine  hose 
auf  dem  haupte." 

1609.    Sommer:   Emplastrum  Cornelianum,  "Von  einer  beginen." 

1783.   Dachtimandes:  Die  hosen  des  doktors  im  nonnenkJoster. 

1576.   Tho.  Twyne:   The  Schoolmaster,  IV,  "Of  honest  jests." 

1586.   Warner:  Albion's  England,  V,  27. 
*i536.   Nicolas  de  Troyes:   Parangon,  "D'une  abbesse  qui  vouloit  baillcr 

discipline." 
♦1566.   Estienne:  Apologie,  "Une  abbaisse  au  pays  de  Lombardie." 

1585.   Noel  du  Fail:  Matinees. 
♦1674.    La  Fontaine:  Contes,  "Le  Psautier." 

1773.    De  Thdis:  Le  Singe  de  La  Fontaine,  "  Lc  Calc9on." 

1780.    Vergier:  GE/fz/re^,  "La  Culotte." 

1 881.    Grecourt:  QLuvres,  "La  Culotte  et  le  Cordelier." 
*i470.    Pulci:    Morgante  Maggiore,  XVI,  59,  "Quelhi  Bade.ssil  die  voile 

tor  la  cuffia." 
*i52o.    Morlini:   Novelle,  "De  abbatissa  quae  monialcs  arripicns." 

1525.    Cinthio  dei  Fabrizii:  Originc  del  provcrbi,  "Ogni'  cuflfia  si  .scusa 
di  notte." 


36  BOCCACCIO  AND  HIS  IMITATORS 

IX.     3 

*i544.   Hans  Sachs:  Schwanke,  "Die  kranckheit  Kalandrin,  der  ein  kind 

drueg." 
*i56o.   Wickram:    Rollwagenbiichlein,  "Von  einen  radtsherren,  der  mit 

einem  kind  gieng." 
*i536.    Nicolas  de  Troyes:   Parangon,  "D'un  medecin  qui  fit  accroire." 

1883.   Kryptadia,  "Le  recteur  en  mal  d'enfant." 
*i554.   Straparola:  A^o//i,  "Scarpafico."    (?) 

IX.     4 
*i545.   Hans  Sachs:  Schwanke,  *'Der  herr  mit  dem  verspilt  knecht." 

IX.     5 

*i548.   Hans  Sachs:  ^c/twaw^e  "Der  erganst  pueler." 
*i536.    Nicolas  de  Troyes:  Parangon,  "D'un  homme  marie." 

IX.     6 

*i554.  Hans  Sachs:  Schwanke,  "Die  zwei  Gesellen  beim  wirt." 

*i557.  Martin  Montanus:  Gartengesellschaft,  "Zween  jung  gesellen." 

*i558.  Lindener:    Rastbiichlein,  "Zwen   gesellen  herbergten   bey  einem 
wiirt." 

1785.  Langbein:  GeiicA/e,  "Die  Wiege." 

*i85o.  Von  der  Hagen:  Gesammtahenteuer ,  "Von  zwain  studenten." 

*i387.  Chaucer:  Caw/er&z<r;y  Ta/e^,  "The  Reeve's  Tale." 

*i525.  Historie  of  the  Mylner  of  Abington  (not  an  imitation  of  Boccaccio). 

*i666.  La  Fontaine:   Contes,  "Le  Berceau." 

1765.  CoUe:  Le  Berceau  {oYiexa). 

*i636.  Reyes:  El  Menandro. 

1526.  Cinthio   dei   Fabrizii:     Origine  dei  proverbi,  "Lu   vai   cercando 
Maria  per  Ravenna." 

1562.  Castelvetro:  Arte  Poetica,  "Dell'  inganno  precedente  per  ebrezza." 

IX.     7 

*i546.   Hans  Sachs:  Schwanke,  "Das  bos  weib  mit  dem  wolf." 
*i566.    Sansovino:   Cento  Novelle  Scelte. 

IX.     8 

♦1547.   Hans  Sachs:  5cAwaw^e,  "Die  zwen  Schmarozer." 
*i536.   Nicolas  de  Troyes:  Parangon,  "De  Deux  Gloutons." 


BOCCACCIO  AND  HIS  IMITATORS  37 

*i566.    Sansovino:  Cento  Novelle  Scelte,  "Biondello  fa  una  beflfa  a  Ciacco 
d'uno  desinare." 

IX.  9 

*i545.   Hans  Sachs:  Schwanke,  "Die  gensbriicken." 

*i  536.   Nicolas  de  Troves :    Parangon,  "  De  deux  hommes  qui  demanderent 

trois  conseils  a  Solomon." 
*i378.    Ser  Giovanni:  //  Pecorone,  V,  2. 

IX.     10 

*i557.  Martin  Montanus:   Gartengesellschaft,  "Pfaff  Zianus." 

*i536.  Nicolas  de  Troyes:  Parangon,  "D'un  prestre." 

*i666.  La  Fontaine:  Co w/e5,  "Compere  Pierre." 

1881.  Grecourt:   (Euvres  badines,  "La  Charrue." 

*i8o4.  II  Casti:  Novelle,  "L'incantesimo." 

1850.  Batacchi:  Novelle,  "'La.  Scommessa.." 

*i875.  Pitre:   Fiabe  Siciliane,  "Lu  rimitu." 

X.  I 

1563.  Pauli:  Schimpfund  Ernst,  io\.  i^. 

*i393.  Gower:  Confessio  Atnantis. 

*i6oo.  Shakspere:  Merchant  of  Venice,  Scene  of  Caskets. 

*i536.  Nicolas  de  Troyes:    Parango?i,  "D'un  Florentin  qui  scrv'it  Ic  roy 

d'Espagne." 

♦1553.  Torquemada:  Colloquios  Satiricos. 

♦1563.  Timoneda:  .^/i'yw,  "  Yendo  camino  solo  un  rey  de  Castilla." 

♦1574.  Santa  Cruz:  Floresta  espanola. 

*i6i9.  Lope  de  Vega:  El  servir  con  mala  estrella. 

♦1550.  Straparola:  Notti,  XIII,  7,  "Giorgio  servo  e  il  patrone." 

X.     2 

♦1550.   Hans  Sachs:  Fastnachtspiel,  "  Das  Wildbad." 

♦1563.    Kirchhof:     IVendunniul/i,  "Kin  cdclmnn   machet  cinen   miinchcn 
gesundt." 
181 2.    Langbein:  N^eue  Gedirhle,  "Die  Rcisc  ins  Bad." 
1836.    Geib:  Sagen  und  Geschirlttcn,  "Der  Kilter  und  dcr  .\l)t." 

*i536.   Nicolas  de  Troyes:  Parangon,  "  D'un  hommc  lc(iu(l  print  un  ahbcf." 

X.     3 

♦1779.    Lessing:  Nathan  der  Weise  (together  with  I,  3,  and  V,  5). 
j^    1567.    Painter:   Pa/afc  0/ /^/ca.s^re,  "Mithridales  and  Nathan." 


a 


38  BOCCACCIO  AND  HIS  IMITATORS 

X.     4 

*i544.   Hans  Sachs:  Gentile  mit  der  Men  frawen. 

*i566.   Luther:    Tischreden,    "Ein   Edelman   hat   ein   schon   jung   weib 
gehabt." 
1 81 3.    Grafifen:  Romantischen  Vignetten. 
*i8i5.   Uhland:  Die  Todtejtvon  Lustnau.(?) 
*iS^7-   Painter:  Palace  of  Pleasure,  "Catharine  oi  Bologna.." 
%        *i576.   Turberville:     Tragical    Tales,    "Gentile    loved   one   Nicoluccio's 
wife." 
*i884.   Tennyson:  Lover's  Tale,  "The  Golden  Supper." 
*i536.   Nicolas  de  Troyes:  Parangon,  "D'un  gentilhomme  dont  la  femme 
fut  enterree." 
1 500.   Anon. :  La  amante  risucitada. 
*i636.    Reyes:  El  Menandro. 
*i554.   Bandello:  Novelle,  II,  41. 

X.     5 

*i459.  Johann    Valentin:     Andrae's    chymische    Hochzeit,     "Christiani 

Rosencreutz." 

*i387.  Chaucer:  Canterbury  Tales,  "The  Franklin's  Tale." 

•       *i567.  Painter:  Palace  of  Pleasure,'^  AnsaXdo  and  T)\anora." 

*i6o8.  Beaumont  and  Fletcher:    Triumph  of  Llonour. 

1620.  Two  Merry  Milkmaids. 

*i866.  Leigh  Hunt:   Italian  Poets,  "The  Saracen  Friends." 

*i536.  Nicolas  de  Troyes:  Parangon,  "Le  jardin  de  Janvier." 

1637.  Maria  de  Zayas:  Novelas  Amorosas,  "Jardi  enganoso." 

'  *i47o.  Bojardo:  Orlando  Innamorato,  Canto  XII,  "Iroldo  e  Tisbina." 

*i877.  Imbriani:    La  novella ja  fiorentina. 

X.     6 

*i547.   Hans  Sachs:   Schwdnke,  "Der  Ritter  mit  den  2  schonen  dochtem." 
*i  536.   Nicolas  de  Troyes :  Parangon,  "  Le  roi  Charles  aimoit  une  pucelle." 

X.     7 

_         *i545-   Hans  Sachs:  Konig  Peter  in  Cicilia  mit  jungfrau  Lisa  (historia). 
*i536.   Nicolas  de  Troyes:  Parangon,  "D'une  fille  qui  fut  amoureux  d'un 

roy." 
♦1840.   Alfred  de  Musset:  Carmosine. 


BOCCACCIO  AND  HIS  IMITATORS  39 

X.     8  ^ 

*i53i.   Hans  Sachs:  Die  getreuen  Jieiden  (histovia.). 

1546.   Hans  Sachs:   Titus  a7id  Gesip pus  {comedia). 

1 541.    Bnano:  Etliche  historien  undfabeln. 

1 551.    Schwartzenbach:    Comedi — darinnen  rechte  trew  tind  freundschaft 
fiirgestdlt  wiirtd. 
*i557.   Martin  Montanus:  Spiel  von  Titus  und  Gisippus. 

1578.   Kaspar  Veres:  Die  zwei  treivenjreunde. 

1608.   Mahrold:  Rollmarschkasten. 

1623.   Speccius:  Comoedia  de  Titi  et  Gisippi  amicitia  (Altdorf). 

1670.   Sommerklee  und  winter griin,  "Nicolaus  und  Franciscus." 
*i74o.   Acerra  Philologica,  "Historia  des  Gesippi  und  Titi." 

1 781.    Gotter:  Der  mann  den  seine  fratmicJit  kennt. 

1880.   Widmann:   Die  konigen  des  Ostens. 
*i425.   Lydgate:  Fahida  duorum  mercatorum. 

*i53i.   Tho.  Elyot:    The  Governor,  "The  wonderful  history  of  Titus  and  ^ 

Gesippus." 

1532.    William  Walter:    The  History  of  Titus  and  Gesippus  (trans,  of 
Beroaldo). 

1562.   Edw.    Lewicke:     History    of    Titus    and    Gesippus    draivcn    into 
English  metre. 

1569.   Radcliffe:  De  Titi  et  Gisippi  amicitia  (drama). 

1592.   Tho.  Underdonne:   Titus  and  Gesyp pus  (lost). 
♦1592.    Greene:  Philomela  (ending). 
*i620.    Fletcher:  Monsieur  Thomas. 

1724.    Faithful  Friendship,  or  Alphonso  and  Septimus  (ballad). 
♦1759.    Goldsmith:   TAe  5ee,  "Story  of  Alcander  and  Septimus." 
♦1820.    Collier:  Poetical  Decameron  (review  of  Lewicke's  version). 
*i842.    Gerald  Griffin:   Gisippus  (tragedy,  Drury  Lane  Theater). 
*i536.   Nicolas  de  Troyes:  Parangon,  "D'un  compaignon  athenois." 
♦1622.   Hardy:   Gesippe,  ou  les  Deux  Amis. 

1638.    Chevreau:   Les  Deux  Amis. 

lyjT,.    Boissy:   Le  Mari  par  supercherie. 
♦1566.   Timoncda:    I'atranuelo,  "I'or  Urbino,  Fcdcrico  con  .Antonia  non 

caso." 
*i6i4.    Lope  de  Vega:  La  Boda  enlre  dos  maridos. 
♦1636.    Reyes:   El  Curial  de  Parnaso. 
♦1492.    Beroaldo:    De  Tito  Romano  Gisippoquc  Athcnirnsi. 

1 510.    Nardi:   Amicitia  (comedia). 

1553.   Anon.:   Risposta  di  Carmidc  Ataiicsc  a  Tito  {)uinto  Fulvio. 


40  BOCCACCIO  AND  HIS  IMITATORS 

*i555.   Nobili  von  Montepulciano :   Titus  et  Gisippus  (poem)  (Manni). 
1 613.    Galeotto  Oddi:  Gisippo  (comedia). 

1868.   Lihro  di  novelle  antic  he  {=Scelta  di  curiosita,  lett.  4),  ''Die  due 
mercatanti." 

X.     9 

*i598.   Ayrer:  Comedi  von  Soldan  von  Babilonia. 
*i567.   Painter:  Palace  of  Pleasure,  "Thorello  and  Saladine." 
*i69o.   Aphra  Behn:   The  Nun,  or  the  fair  Vow-Breaker. 
*i694.    Southern:   The  Fatal  Marriage. 

*i536.   Nicolas  de  Troyes:    Parangon,   "D'un  chevalier   qui  receut   le 
Soudan." 

X.     10 

1470.  Albrecht  von  Eyb :  Grisardis. 

*i47i.  Arigo  (Steinhowel) :   Griselda. 

*i546.  Hans  Sachs:  Die  geduUig  und  gehorsam  graffin  Griselda  (comedia). 

1563.  Pauli:  Schimpf  und  Ernst,  io\.  2^. 

*i563.  Kirchhof:  Wendunmuth, ''^W on 'Utrzog  Durando  und  Fortunata." 

1582.  Mauricius:  Griselda  (comedia). 

1590.  Pondo:  Griselda. 

1653.  Fiedler:  MarggrafWalther. 

1687.  Martinus  von  Cochem:  Griseldis. 

1810.  Nicolay:   Vermischten  Gedichte,  "Griselde." 

1804.  Arnim:  Ariel,  "Die  zweite  Hochzeit." 

1830.  Schwab:   Griseldis,  Volkssage  in  zehn  Romanzen. 

♦1835.  Halm:  Griseldis. 

1845.  Liideman:  Griseldis. 

1847.  Simrock:    Volksbiicher,   "Fine    schone    anmuthige  Historie." 

1862.  Bechstein:   Mdrchen,  ^' Gri&eldis." 

*igo8.  Hauptmann:  Griselda. 

♦1378.  Chaucer:   Canterbury  Tales,  "The  Clerk's  Tale." 

1560.  Doloney:   Of  Patient  Grissel  and  a  Noble  Marques  (haWsid). 

1560.  Radcliffe:   De  patientia  Griselidis. 

♦1590.  A  Pleasant  and  Sweet  History  of  Patient  Grissel  (trans,  from  the 

Italian). 

*i590.  A  true  and  admirable  history  of  Patient  Grissill  (trans,  from  the 

French). 

♦1603.  Dekker:  A  Pleasant  Comedie  of  Patient  Grissill. 

*i667.  Pepys  Diary  (mention  of  a  puppet  play,  Patient  Gryssel). 

1739.  Geo.  Ogle:  Gualtherus  and  Griselda  (poem). 


CCACCIO  AND  HIS  IMITATORS 


41 


j5- 

1395- 
*i45o. 

1470. 
*i536. 
*i69i. 

1714. 

1791. 
*i89i. 
*i45o. 

1460. 
*i566. 
*i6o3. 
*i6i6. 
*i65o. 


1904. 
*i373- 

1375- 
♦1500. 

1613. 

1620. 

1630. 

1700. 

1 701. 
♦1736. 

1796. 

1869. 

1875- 


Paradise  of  Dainty  Devices,  "Death  of  Patient  Grizel  and 
Ivice  to  Ladies." 
Miss  Sothby:  Patient  Griselda  (a  tale). 
Edwan  Arnold :  Griselda  (a  tragedy) . 
Braddon,  M.  E.:   Griselda  (Princess  Theater). 
Le  Mystdre  de  Griseldis  (Paris). 

Mirouer  des  femmes  vertueuses,  "La  patience  Griselidis." 
Olivier  de  la  Marche:  Le  Parement  et  Triomphe  des  Dames. 
Nicolas  de  Troyes:  Parangon,  "De  Griselidis." 
Perrault:  Griseldis. 
Gillet:   Griselde  (comedie  en  vers). 
Desforges:  Griselidis  (opera). 
Silvestre  et  Morand:   Griselidis  (mystfere). 
Metge :  Historia  de  las  hellas  virtuts. 
Castigos  e  doctrinas  que  un  Sabie  dava  a  sus  hijas. 
Timoneda:  Patraniielo,  "Por  su  bondad  Griseldis  luh  marquesa." 
Navarro:  Comedia  muy  exemplar  de  la  marquesa  de  Saluzia. 
Lope  de  Vega:  El  exemplo  de  casadas. 
Romancero  General — Griselda  y  Gualtero. 

Historia   de   Griselda,    "La  qual  lo  marques  Walter  pregn^  por 
muller." 

Miquel  y  Planas:  Histories  d'allre  temps,  "  Valter  y  Griselda." 
Petrarca:  De  obedientia  ac  fide  uxoria. 
Sercambi:  Novelle,  "De  muliere  costante." 
Pinturicchio:  Griselda  (scenes  from)  (National  Gallery). 
Galeotto  Oddi:   Griselda  (comedia). 
Mazzi:   Griselda  (tragicommedia  morale). 
Massimo:  Griselda  (tragicommedia). 
Maggi:  Lm.  Griselda  di  Saluzzo. 
Apostolo  Zeno:  Griselda. 
Goldoni:    La  Griselda. 
Paer:  Griselda  (ojjera). 
Agnillo  d'Agnone:   Griselda  (drama). 

(ifjri:    Idodici  avvertimcnti  clie  deve  dare  la  madrc  alia  figliuola 
(MS  XIV). 


BIBLIOGRAPHY^ 

Anschiitz,  R.     Boccaccios  Novella  vom  Falken.     Erlangen,  1892. 
Bedier,  J.     Les  Fabliaux,  chap,  vi,  "Le  Fabliau  aux  tresses."     Paris,  1895. 
Bourland,  C.  B.     Boccaccio  and  the  Decameron  in  Castilian  and  Catalan  Litera- 
ture.    Paris,  1905. 
Cappelletti,  L.     Studi  stil  Decamerone.     Parma,  1880. 
Cesano,  Amalia.     Hans  Sachs  ed  i  siioi  rapporti  con  la  letteratura  italiana.     Rome, 

1904. 
Du  Meril,  E.     Histoire  de  la  Poesie  Scandinave.     Paris,  1839. 
Dunlop-Liebrecht.     Geschichte  der  Prosadichtungen.     Berlin,    185 1. 
Hutton,  E.     Giovanni  Boccaccio.     New  York,  19 10. 
Koeppel,  E.     Studien  zur  Geschichte  der  italienischen  Novelle  in  der  englischen 

Literatur  des  XVI.  Jahrhunderts.     Strassburg,  1892. 
Landau,  M.     Geschichte  der  Italienischen  Novelle.    Vienna,  1875. 
Landau,  M.     Die  Quellen  des  Dekanieron.     Stuttgart,  188 1. 
Manni,  D.     Illustrazione  istorica  del  Boccaccio.     Florence,  1742. 
Schofield,  W.  V.     The  Source  and  History  of  the  Seventh  Novel  0}  the  Seventh 

Day.     Boston,  1899. 
Scott,  M.  A.    Elizabethan  Translations  from  the  Italian.    Pub.  M.  L.  A.,  1895-96. 
Westenholz.     Die  Grieseldis-Sage  in  der  Litteratur geschichte.     Heidelberg,  1888. 
Zambrini,  Fr.     Bibliografia  Boccaccesca.     Bologna,  1875. 
"  Bibliothek  des  Literarischen  Vereins  in  Stuttgart": 

Ayrers  Dramen,  Keller.     Stuttgart,  1865. 

Hans  Sachs,  Keller.     Tubingen,   1870-79. 

Kirkhoj  Wendunmiith,  Oesterley.     Stuttgart,  1869. 

Lindeners  Schwankbiicher,  Lichtenstein.     Stuttgart,  1883. 

Martin  Montanus — Schwanbucher,  Bolte.     Stuttgart,  1899. 

Paidi.     Schimpj  und  Ernst,  Oesterley.     Stuttgart,  1866. 

Wickram,  Rollwagenbiichlein,  Bolte.     Stuttgart,  1903. 
"Neudrucke   Deutschen    Litteraturwerke  " : 

Hans  Sachs — Fastnachspiele,  Goetz.     Halle,  1880-84. 

Hans  Sachs — Fabeln  und  Schwdnke,  Goetz  und  Drescher.     Halle,  1893- 
1904. 
"Grands  Ecrivains  de  la  France": 

La  Fontaine,  Regnier.     Paris,  1887-90. 

I  The  above  bibliography  indicates  only  the  principal  monographs  and  editions 
of  authors  containing  notes  bearing  upon  this  subject,  which  have  been  used  in  pre- 
paring this  work.  In  a  more  detailed  discussion  of  the  different  Novelle  which  is 
in  preparation,  there  will  appear  a  fuller  bibliography  containing  references  to  articles 
in  various  periodicals. 

42 


I 


ADDITIONS 

The  following  additions  are  not  to  be  classed  as  genuine  imitations  of 
Boccaccio,  being,  in  most  cases,  merely  translations  or  adaptations. 

II.  9 
1755.   Marsh:   Cymheline  (adapted). 
1778.   Brooke:   Cymbeline  (adapted). 
1806.    Kemble:   Cymbeline  (adapted). 

1880.    "Cymbeline  in  a  Hindoo  Playhouse"   {Eclec.  Mag.,  July,   1880). 

III.  8 
1801.   Casti:   Novelle,  "II  Purgatorio." 

V.     I 

1850.    Planche:   Cymon  and  Iphigenia. 

V.     9 

1905.    G.  C.  Rowland:   Ten  Best  Stories,  "The  Falcon,"  Chicago  Tribune. 
1908.   Ben  Greet  Company,  The  Falcon. 

VII.    I 

1548.    Burkhard  Waldis:    Esopus,   "Vom  Studenten  u.  einem   jMiillcr." 

VII.     8 
1538.   Hans  Sachs:   Schwanke,  "Die  Schererin  mit  der  Nase." 
1855.    Keller:  Erzahlungen,  "Der  PfafI  mit  der  Snuer." 

X.     8 
1862.    Bechstein:    Mdrchen,  "Zwci  wahrc  I'riunde"  (Lydgate's  version). 

X.     10 

OPERAS    BASED    UPON   APOSTOLO   ZENO'S    LinRETTO,    "gRISELDA" 

1 701.  Pollarolo  (Venice). 

1707.  Chelleri  (Piaccn/.a). 

1710.  CapcUi  (Rovigo). 

171 1.  Prcdicri    (Bologna). 

1720.  Orlandini   (Bologna). 

1721.  Scarlatti  (Rome). 

1722.  Bononicini  (Lonclon). 

4.? 


44  BOCCACCIO  AND  HIS  IMITATORS 

1725.  Caldara  (Vienna). 

1726.  Conti  (Vienna). 
1728.  Albinoni  (Rome). 
1735.  Vivaldi  (Venice). 
1747.  Latilla  (Rome). 

1793.  Piccini  (Venice). 
1796.   Paer  (Parma). 

1850.   Fitzwilliam  (London). 

1848.   Cope:   "Marriage  of  Griselda"  (painting  in  the  House  of  Lords). 

1794.  Kauffmann:  "Angelica"  (painting;   afterward  engraved). 

NOTES 

The  references  to  Pauli,  Schimpj  und  Ernst  (1863),  are  given  on  the  authority  of 
Du  Meril. 

For  Nicolas  de  Troyes  the  Mabille  edition,  Blhl.  Elzev.,  has  been  used. 

For  Sansovino,  the  references  are  to  the  1566  edition,  quoted  by  Manni. 

For  Sercambi,  the  references  are  to  the  Renier  edition. 

Approximate  dates  have  been  given  in  the  case  of  Chaucer,  Sercambi,  Ser  Giovanni 
Sacchetti,  Lydgate,  and  Ayrer. 


INDEX  OF  PRINCIPAL  AUTHORS 


This  Index  is  intended  to  be  made  use  of  in  connection  with  Table  B,  pp.  lo,  n. 
The  roman  numerals  refer  to  the  day;  the  arable  to  the  novella. 


IV,  2;    VII,  8; 
J,  8;    VII,  5,  6; 


Aretino,  P.:   II,  5. 
Arnold,  Edwin:   X,  10. 
A}Ter:    I,  i;    II,  5,  8; 

\TII,  9;    X,  9. 
Bandello:    III,  2;    IV, 

\TII,  4;    X,  4. 
Bebelius:   III,  3;   VI,  10;   VIII,  4. 
Bechstein:    VI,  4;    X,  8,  10. 
Behn,  Aphra:  II,  5,  6;   X,  9. 
Beroaldo:   IV,  i;   V,  i;   X,  8. 
Black,  Wm.:   V,  9. 
Bojardo:    X,  5. 
Braddon,  M.  E.:   X,  10. 
Billow:  IV,   2. 
Burger:    IV,  i. 

Burkhard  Waldeis:   VII,  7;   IX,  2. 
B>Ton:    V,  8. 
Castelvetro:   1,8;   11,9;  111,5;   VI,  3,  6; 

VIII,  9;   IX,  6. 
Casti:  III,  i,  2,  10;  IV,  2;   V,  4;   IX,  10. 
Centlivre:   III,  3,  5;   IV,  i. 
C abler  0}  Caunterburie:    VII,  i,  7,  8. 
Cornwall,  Barry:   III,  2;   IV,  5;    V,  5,  9. 
Dancourt:  VII,  6,  7. 
Dekker:  X,  10. 
Dryden:    IV,  i;    V,  8. 
Estienne:  III,  3,  5;  IV,  2,  9;   VII,  2,  3,  6; 

VIII,  8;    IX,  9. 
Fabrizii,  Cinthio  dci:    IX,  2,  6. 
Favart:    IV,  2. 
Pigueroa:    II,  5. 
Firenzuola:    VII,  8. 
Fletcher:    III,  8;    VII,  6;    X,  5,  8. 
Forrest  0}  Fancy:   IV,  8;    V,  7,  8. 
Garrick:   II,  9;   V,  i. 
Oiacosa:    V,  8. 
Giovanni,  Scr:   VII,  7;    IX,  9. 
Giraldi:   11,6;    111,6;   IV,  6,  10. 
Goldoni:    X,   10. 
Goldsmith:    X,  8. 
Gr^court:   IX,  2,  10. 


Greene:    IX,  2,  10. 

Hagen,  von  der:    II,  9;    III,  8;    IV,    9; 

VII,  6;    VII,  8;   VIII,  8;   IX,  6, 
Hauptmann;    X,  10. 
Hey  wood:   II,  9. 
Heyse:    V,  i. 
Hogarth:    IV,  i. 
Imbert:   I,  4;   III,  8;   VIII,  i. 
Jonson,  Ben:   II,  2;   III,  3. 
Kirchhof:  II,  8;  IV,  2;  VI,  10;  VII,  5,  6; 

X,  2. 
Kock,  Paul  de:   II,  10;   III,  2. 
Kryptadia:  VII,  7;   VIII,  8;   IX,  3. 
Langbein:   VII,  7;   VIII,  8;   X,  2. 
Leighton:    V,   i. 

Lessing:    I,  3.  ' 

Lindener:   VIII,  2,  8;    IX,  6. 
Longfellow:     V,  9. 
Luther:    I,  2;    VI,  10;    X,  4. 
Lydgate:    IX,  i;    X,  8. 
Mahrold:   I,  4;   VIII,  8;   X,  2. 
Marmontel:    IV,  2. 
Masuccio:  III,  10;  IV,  2;  VIII,  S. 
Millais:   IV,  5;   V,  8. 
Moliere:  111,3;   VII,  4. 
Musset,  de:  IV,  7,  8;   X,  7. 
01im|)ia  Fulvia  Morata:    I,  i,  2. 
I'inturicchio:     X,   10. 
Panard:    IV,  2. 
Paral>i)sc():    IV,  i,  2,  10;    V,  8. 
Pauli:    I,  3;    II,  I,  5,  9;    111,9;    IV.  1.    • 
Periers,  <lcs:    III,  3,  5,  8;    VIII,  S. 
Perrault:    X,  10. 
Pitre:   11,5,9;   111,6,8;   IX,  10. 
Poggio:   111,8;   VII,  7;   VIII,  6. 
Pope:    VII,  9. 
Pulri:   IX,  2. 

Sanhctli:    III,  6,  10.  * 

Sagrcdo:   III,  3;   VI,  4. 
Sale,  Anloinc  dc  la:    III,  8;   IV,  2,  10. 
Scdainc:   II,  10;   111,5;   V,  9. 


45 


46 


BOCCACCIO  AND  HIS  IMITATORS 


Shakspere:   II,  9;   III,  9;   X,  i. 
Smith,  Hopkinson:    VI,  4. 
Straparola:     III,    9;     IV,    8;     VII, 

VIII,  8;    IX,  3. 
Swift:  I,  3. 

Tarlelon's  Newes:  IV,  2;   VI,  4,  10. 
Tasso:   V,  6. 
Tennyson:    V,  9;    X,  4. 
Tirso  de  Molina:   IV,  8. 


Turberville:  IV,  4,  5,  7,  8,  9;   \, 

Vade:    VII,  9. 

Voltaire:    I,  i. 

Westward   jor   Smelts:     II,    9;     VII, 

VII,  8. 
Wickram:   IV,  6;    IX,  3. 
Wieland:   VII,  9. 
Zschokke:    VII,   4. 


•'■V 


^F  r*TTFORNIA  17^   ' '»RY 


i 


University  of  California 

SOUTHERN  REGIONAL  LIBRARY  FACILITY 

305  De  Neve  Drive  -  Parking  Lot  17  •   Box  951388 

LOS  ANGELES,  CALIFORNIA  90095-1388 

Return  this  material  to  the  library  from  which  it  was  borrowed. 


Form  L9-S 


PAMPHLET  BINDER 

:^^Z   Syracuse,  N.   Y. 
^^2    Stockton,  Colif 


yr  1\1P1PY58^ 


bbo^ 


^ 


\ 


